HOW TO PLAY 

BASEBALL 




By JOHN J. McGRAW 



I 




Class 






Copyright N?.. 



COPYRIGHT DEPOSIT. 






f 




John J. McGraw 
Manager of the Champion Giants. 



HOW TO PLAY 

BASEBALL 

A MANUAL FOR BOYS 



BY 

JOHN J. McGRAW 



THIRTY-TWO ILLUSTRATIONS 
FROM PHOTOGRAPHS OF BIG 
LEAGUE STARS IN ACTUAL PLAT 



HARPER & BROTHERS PUBLISHERS 
NEW YORK AND LONDON 



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COPYRIGHT. 1913 1914 BY HA RPER ft BROTHERS 

PRINTED IN THE UNITED STATES OF AMERICA 

PUBLISHED JUNE. 1914 

F.-O 



OCT 24 1914 

©CU387330 

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CONTENTS 



%. 
* 



I. 

II. 

III. 
IV. 



V 

VI 

VII 

VIII 

IX 

X 

XI 

XII 



PAGE 

Foreword vii 

-The Catcher 1 

-The Pitcher — Style of De- 
livery 18 

-The Pitcher — Control and 

the Curve and Fast Balls 35 

-The Pitcher — The Slow 
Ball., the Spitter, Freak 
Deliveries, and Fielding 

the Position 48 

-First Base ....... 63 

-Second Base 76 

-The Shortstop 89 

-Third Base ....... 94 

-The Outfield 106 

-Batting 114 

Base Running . . . . . . 126 

-Team Work . 138 



FOREWORD 

IN spite of the popular belief that ball 
players are born and not made, many 
are manufactured, or perhaps developed 
is a better word. In this series of lesson 
talks on the various positions on a ball club, 
I shall try to instruct my readers the same 
as I do the young fellows who go South to 
Marlin, Texas, for their first Spring prac- 
tice with the Giants. Only, I shall go into 
more detail, endeavoring to show the boy or 
the young man how he can become a good 
ball player if he has the physical ability. 

By physical ability I mean a certain lithe- 
ness of body, combined with speed. Besides 
the physique, a good ball player must have 
nerve and grit, more than the average person 
suspects is necessary for the game. Nerve, 
speed, and litheness can all be developed if 
the reader will conscientiously, systematically 
and patiently cultivate these qualities as he 
plays the game. 

I do not predict that the boy or young man 

vii 



viii FOREWORD 

who reads and studies this series of lessons 
will develop into a Big Leaguer, because there 
is room for only so many Big League ball 
players, and none but the best can fill these 
places. Only a few lawyers or physicians or 
men in any profession make big money, and 
they are the top notchers in their trades, the 
same as the Big Leaguer is in baseball. 

But I do say that the boy or the young 
man who studies these articles carefully and 
heeds the advice which I shall give will be 
a better ball player than if he had not. I 
also say that, if he intends to make baseball 
his profession, he has a better chance of get- 
ting into the major leagues by studying these 
lessons than he would have scrambling along 
under no instruction at all or under merely 
local and scattered tuition. 

Besides the educational angle, these lessons 
should stimulate the boy or the youth to play 
baseball. It should make him healthier and 
fitter to fight life's battles. He will be bene- 
fited by the exercise and will get more en- 
joyment out of the game if he plays it well. 
If a reader has no intention of playing pro- 
fessional baseball, these lessons should induce 
him to lead an outdoor life, in which he will 
get lots of red blood into his veins. My pur- 



FOREWORD ix 

pose in giving this course of instruction is 
to get out a sensible and plain book on how 
to play the various positions in baseball with 
the idea that perhaps it will develop the 
American boys and make them better men. 

It is not my intention to try to make pro- 
fessional ball players, although, as I have said, 
the boy or the young man with that ambition 
will be benefited by this course of instruction. 
Baseball develops the boy and makes him 
manly. It gives him qualities which he will 
need later along in life, including health and 
grit, or "fight," as ball players say. There 
never was a good ball player or good citizen, 
for that matter, who was a quitter. 

It is my intention to devote at least one 
lesson *to each position, besides taking up bat- 
ting, base running, training, and general team 
work, and try to make my points clear with 
photographs of major league players in ac- 
tion. It is best to go right around the team, 
starting with the position of catcher. There- 
fore, let us consider this first. 



How to Play Baseball 



THE CATCHER 

PTl HE position of catcher is one of the most 
important on a baseball club. Grit is 
probably more essential in a catcher 
than in any other player — that is, the physical 
courage to face bare spikes when a runner 
is sliding into the plate, and to get a foul 
tip on the bare hand and like it. 

I would not recommend that a light boy try 
to become a catcher unless he has other quali- 
ties which make that his position. There is 
so much blocking off the plate to be done 
that it requires a fellow of weight, who can 
stand hard bumps, to do it. Then, too, a 
bigger catcher makes a better target for the 
pitcher and is inclined to give the latter more 
control. Such a catcher makes a pitcher look 
better to the umpire, because he can handle 
the delivery more easily. 

The big fellow is generally slower than the 
smaller boy, but speed can be better applied 

1 



2 IIOW TO PLAY BASEBALL 

elsewhere on a ball team than behind the bat. 
It is not necessary that the catcher be a fast 
man because his constant crouching position 
will slow him up after a time, anyway. But 
the big fellow can reach all around and pull 
down balls that might get away from a smaller 
backstop. He can make wide ones look more 
like strikes and has a better chance of con- 
vincing the umpire than the smaller catcher. 
It does not require so much effort for him to 
pull in wide balls, and he has not so many 
passed balls as the smaller catcher. There 
are many reasons why the catcher should be 
a bigger man or boy. 

Most boys who get up as high as the Big 
Leagues do not know what position they 
should play even then, so that youngsters need 
not be convinced they cannot be good catchers 
just because they have always pitched or done 
something else up to this time. On the New 
York Giants at present are Murray and Snod- 
grass, both of whom came to me as catchers. 
It was I who discovered that their right po- 
sitions were in the outfield. "Larry" Doyle 
came as a third baseman, and he is most valu- 
able at second. Therefore, if a boy is big, 
but lacks speed, I would recommend that he 
try to develop into a catcher. 



THE CATCHER 3 

Catching is a dangerous job, but most boys 
make the position more perilous than it really 
is by the way in which they handle themselves. 
The amateur or beginner is inclined to get 
back too far from the batter. He is usually 
laboring under the delusion that the further 
he is from the bat the safer. This is not true. 

The catcher should work up as close under 
the bat as possible. (Illustration No. 1.) 
Catchers are always injured working back 
from the bat. The ball has a chance to shoot, 
if the batter makes a foul tip, when the re- 
ceiver is too far away. Up close, a foul tip 
is not apt to break a finger because there is 
not so much time for it to change its direction. 

Young players often believe catching right 
up under the bat is dangerous because they 
are likely to be hit with the bat when the bat- 
ter swings at the ball. This is not so. The 
catcher should work down beneath the hitter 
and close up. * 

There are numerous advantages of this po- 
sition besides the already mentioned one of 
safety. 

The catcher, being close up under the bat, 
helps a pitcher. He is better on curve balls 
if the twirler is "breaking" them low. If he 
is back, he gets these low curves in the dirt 



4 HOW TO PLAY BASK HALL 

or on the pickup, and, besides increasing the 
danger of passed balls, and runners on the 
bases scoring as a result, they do not look so 
good to the umpire. The catcher must al- 
ways bear in mind that he is helping the 
pitcher by making an impression on the um- 
pire in the way he handles the delivery. A 
good catcher will get a lot of doubtful strikes 
called for his pitcher. Understand, I am not 
counseling any unfair tactics. If the catcher 
is clever enough to handle the ball to shade the 
decisions toward his pitcher, it is considered 
fair in baseball. 

By being close up under the bat, the catcher, 
as I have hinted, is a better mark for the 
pitcher and generally gives him more control. 
The twirler naturally delivers the ball at the 
catcher and not to the batter, and this target 
right behind the plate is a big aid to a man 
inclined to be wild. If any of my readers 
ever have a chance to see * 'Jimmy' ' Archer, 
the Chicago National League catcher, work, 
they should take advantage of it. He has 
an almost perfect position behind the bat. 
He has also acquired a snap throw, while 
squatting on his toes, that cannot be mastered 
by many men. It is desirable, but not es- 
sential to a good catcher. 



THE CATCHER 5 

There is another important feature in the 
work of a catcher which no boy or young man 
who desires to excel should overlook. It is 
what Big Leaguers call ' 'shaping the ball." 

Now, you take most young catchers and 
they will let their arms give with the ball — 
that is, they will draw their hands away from 
the plate and batter when they receive the 
ball. They have a notion that this stops it 
"stinging." It doesn't much. What does this 
do? There is only one answer. When a 
catcher is pulling the ball away from the plate, 
or giving with it all the time, instead of going 
out with his hands to meet it, he is losing a 
lot of strikes that really are good strikes. 
The umpire has to judge the ball partially 
from where the catcher gets it because it comes 
so fast. When you get a catcher pulling them 
off the line of the plate, he is losing a lot of 
strikes and working his pitcher into the hole 
all the time, a thing to be avoided. Many 
times a catcher is quite as much to blame for 
the pitcher getting into the hole as the pitcher 
is himself. As for a catcher "stinging" his 
hands while wearing the big mitt, all that is 
necessary to remark is, his hands should be 
hard enough to catch the ball, anyway. 

Now, I want all my readers to get the idea 



6 HOW TO PLAY BASEBALL 

of what I mean by "shaping the ball." As 
the ball is delivered by the pitcher, have your 
hands coming toward the plate instead of 
pulling away from it. In this way you may 
get some doubtful strikes that otherwise the 
umpire would call balls. You are pulling all 
the pitches in toward the heart of the plate, 
or "shaping" them toward it. In any way 
that the catcher can help the pitcher, he is 
aiding his team because the twirler is the vital 
cog in the machine, and the catcher is sup- 
posed to handle him. It is a well known 
fact, and recognized among baseball men, 
that some catchers cannot handle some 
pitchers because they worry them. That is 
the reason you see by the daily box scores in 
the newspapers the same batteries work to- 
gether so much. They get used to each other. 

To develop this trick of "shaping the ball," 
I would advise the young fellow to stand in 
front of a mirror and practice the motions of 
catching correctly without any ball. He then 
can see how his arms ought to swing in 
toward the plate instead of away from it. 

There is another reason for pushing the arms 
toward the plate instead of drawing them 
away and that is the advantage it gives in 
throwing. The only proper way for a catcher 



THE CATCHER 7 

to throw to catch a man stealing a base is 
with a snap. (Illustration No. 2.) There is 
never any time for a windup. If the catcher 
tries to take a windup, he will find runners 
stealing bases on him right along. He loses 
too much time in getting the windup. 

Now, as you read this, try something. Catch 
the ball the wrong way by drawing the arms 
away from the plate, and you will find it 
almost impossible to make a throw without 
taking a windup. The position of the arms 
after the ball is caught makes the windup 
necessary in getting it away. They are away 
back by the body. Now, try "shaping the 
ball" — that is, shooting the hands in toward 
the plate — and you will find you are in a 
position to snap the ball down to second with- 
out drawing the arm away back. That is 
what I mean by the windup. In the snap 
throw, the hand is not drawn back further 
than the line of the shoulder, and impetus is 
received from the arm alone without putting 
the body into the throw at all. This quick 
throwing is one of the most difficult things 
a catcher has to do, and the "shaping of the 
ball" helps him to accomplish it. Try it and 
see how it helps you. 

If a boy wants to be a good catcher let 



8 HOW TO PLAY BASEBALL 

him practice this "shaping of the ball" until 
he has it perfected. It simply means shoot- 
ing the hands toward the perfect strike spot 
on the plate instead of drawing them away 
from it. The perfection of it is absolutely 
essential because it benefits the pitcher, the 
catcher, the entire club. By the "perfect 
strike spot" I mean an imaginary point, waist 
high, over the center of the plate. 

Now, let us consider the throwing a little. 
This is an important duty of the catcher. He 
must have a good arm and learn to throw 
accurately. If you cannot do this, you might 
just as well make up your mind that you 
are going to lose the close games before you 
start. A stolen base at a critical stage has 
won many a ball game because on second a 
runner is in a position to score, and, if the 
other side is going to run wild on the bases, 
there is no use in playing. 

The arm can be developed by practicing 
throwing diligently, but not too much of it 
all at once. Be careful about a sore arm. 
Practice is the only way in which accuracy 
can be accomplished, too. Do it with a bat- 
ter in the box. Get some boy to stand up 
there and act as a dummy and swing at the 
ball if necessary, but always practice under 




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Illustration No. 2— "Jimmie" Archer of the Cubs throwing. Note 
snap of wrist acquired in short arm throw without windup. 
Correct style without windup. 




Illustration No. 3 — Roger Bresnahan of the Cubs giving signals . Ob- 
serve how he has his fingers hidden with knees, body and flap of 
chest protector to prevent batter seeing signals from above 
should he turn around. Correct form. 




Illustration No. 4 — Roper Bresnahan of the Cubs. Note position 
of thumb close to hand to prevent injury. Correct style. 



THE CATCHER 9 

the proper conditions. Throw directly at the 
bag and not at a moving infielder, having pre- 
viously arranged with the second baseman and 
shortstop by means of signs which one will 
cover. The player covering is supposed to 
be there when the ball arrives. Make your 
target the bag about a foot above the ground. 
This requires a great amount of practice. The 
same applies in throwing to third base. Drive 
the ball at the bag. 

Many boys complain when they first start 
to catch that they cannot help blinking their 
eyes as the batter swings at the ball — a trick 
which makes them worthless as catchers and 
greatly increases the dangers of the job. 
There is only one way to overcome this blink- 
ing tendency and that also is by practice. 
The boy must get used to the hitter swinging 
the bat and pay no attention to it. The good 
catchers hardly see the bat swing. Most any 
boy can overcome this fault with practice. 
Always wear a mask and chest protector when 
you are catching because, once a young fel- 
low is badly hurt, it is liable to make him 
shy ever afterwards. It also gives you a safer 
feeling, and the blinking is easier to overcome 
then. You must get used to catching in a 
mask. 



10 HOW TO PLAY BASEBALL 

Now, the catcher must practically run the 
team because he sees opportunities that the 
other men are not in a position to observe. 
The field is like a blackboard to the catcher, 
for he faces it and sees everything. The Big 
League catcher watches how his fielders are 
playing and gives signs to the pitcher for 
the kind of balls which are more apt to go 
to the fielders when hit. 

For instance, a right handed batter is more 
apt to hit a curved ball on the outside of the 
plate to right field than to left, so, if the 
catcher sees his right fielder is playing around 
near the line, he signs for this curve on the 
outside corner. But this development is gen- 
erally confined to the Big Leagues and is too 
involved for instruction of this sort. It will 
be time enough for a man to pick this up 
when he reaches the majors. He will get 
along very successfully without it up to that 
time. 

A catcher must be very careful about giv- 
ing his signs so that the coachers at first and 
third bases will not see them. The catcher 
should crouch down and give his signs deep 
between his knees and Avithin his glove so that 
they are just visible to the pitcher. (Illustra- 
tion No. 3.) He should not expose them long, 



THE CATCHER 11 

but have them all set and uncover them so 
that he "flashes it," as professionals say. 

In the Big League smart coachers are al- 
ways on the lookout for the catcher's signs, 
hoping that they can find out what is going 
to be pitched to the batter. Then they flash 
it to the batter, and he has a better chance 
of hitting the ball if he has been tipped off 
whether it will be a curve or a straight one. 
This advanced stuff only occurs in the Big 
Leagues. There is not much chance of a 
coacher getting the catcher's signs and sliding 
them back to the batter in a minor league or 
amateur contest. Nevertheless, if a man ever 
expects to be a good catcher, he should be 
very careful about covering up his signs. This 
sign concealment is vital to success. 

The catcher should have arranged two or 
three different sets of signs with his pitcher 
before the game starts, or previous to the 
opening of the season. Then, if he thinks 
the other side is getting his signals in a game, 
he can switch to another set by walking out 
to the box and informing the pitcher of the 
change. That is what the battery conferences, 
so often seen on a Big League ball field, are 
generally for. 

On the Giants, all the pitchers have a set 



12 HOW TO PLAY BASEBALL 

of signs so that if we think the other team 
is getting our catcher's, the pitcher can be 
the source. He gives them by nodding his 
head or with his feet. But I would not advise 
this for a club of young fellows because it 
makes it all too involved. Mathewson, of the 
Giants, gave all the signs in one of the world's 
series games with the Athletics in 1911. 
Meyers sent out fake signals, of course, to 
throw the other side off. If a catcher is giv- 
ing "phoney" signs, he wants to give lots of 
them. 

I cannot emphasize too strongly the neces- 
sity of a young catcher being thorough in his 
signs. When he flashes a signal to a base- 
man, he should have arranged an answering 
sign with that man so he will know that the 
baseman has received his sign and understands 
it. The catcher must have a set of signals with 
all the inflelders to arrange about who is to 
cover the bag when a man is stealing second, 
and to signal when he is going to throw the 
ball to a base in an effort to get a runner too 
far away from the bag. The great thing is 
to "cross" the other team whenever possible. 

A catcher must watch for runners stealing. 
If he thinks that the runner is to leave, he 
signs for a pitchout, which means that the 



THE CATCHER 13 

pitcher is to throw the ball wide on purpose 
where the batter can't hit it and waste one 
in order that the catcher may have a better 
chance to throw. He can get the ball away 
quicker and has more chance of nailing the 
runner at second base on a pitchout. 

But the catcher must not be too liberal in 
ordering these pitchouts because the smart 
base runner will try to make the catcher think 
he is going to steal in order to draw the 
wasted ball. This puts the pitcher into the 
hole, and the runner has a better chance of 
getting to second as a result. Therefore, the 
catcher must exercise great judgment in ask- 
ing for a pitchout. It is a duel of wits be- 
tween the catcher and the base runner, with 
each one trying to get the other in the hole. 
If the runner can draw two pitchouts from 
the twirler, then the latter is in the hole and 
has to put the ball over the plate for the 
batter, who has a better chance to hit. By a 
pitcher being "in the hole," I mean giving the 
batter an advantage by pitching balls. 

When I come to talk about the infielders, I 
shall have more to say about the workings of 
the signs between the catcher and the various 
infielders. It will be easier to do this when 
I take up each position individually instead 



14 HOW TO PLAY BASEBALL 

of considering it all in a lump now. The 
catcher should read all the articles on the 
various positions because in that way he will 
have a better line on the workings of the 
team as a whole. This is true of the fellows 
who expect to play any position. They must 
read all these articles. 

A catcher must have plenty of pepper be- 
cause he is expected to keep the rest of the 
club on its toes and encourage the other 
players. He must keep close track of the 
game, and frequently can shout a warning or 
a direction to one of the inflelders or pitchers 
which saves a run. The catcher is not sup- 
posed to talk to batters, but he should talk to 
the pitcher and steady him if necessary. Let 
him argue with the twirler if he begins to 
weaken. 

"Now," say to him, "you pitched this ball 
to this fellow before and got away with it. 
Let's try it again." 

Maybe the catcher is signing for an alto- 
gether different one, but his words have the 
effect desired on the batter. It also gives the 
pitcher more confidence. 

There is one other thing which I want to 
emphasize. Let the catcher always keep the 
thumb of his bare hand close to his fingers. 



THE CATCHER 15 

(Illustration No. 4.) Otherwise, it is likely 
to be broken off by a foul tip or a sharp 
breaking curve. Hold the thumb right tight 
to the hand in catching. This direction is 
very important and will save many painful 
injuries if followed. 

There is not much to tell a man about catch- 
ing fouls. Catchers, after they have been 
in the game for a time, learn to start with 
the crack of the bat and instinctively go in 
the right direction for a foul. This can only 
be acquired by practice. Of course, the fast 
catcher has the advantage over the slower one 
in getting fouls, but much depends on the 
start. Tear off the mask and dig. Do not 
turn around any more than possible in chas- 
ing the fly, because in this way you get 
"wound up," lose your bearings, get dizzy, 
and are more apt to miss the ball. In hand- 
ling foul flies, catch the ball flat in the big 
glove when possible, and clamp the hand on 
top of it hard, because the ball will spin out 
of the glove if you don't. Fouls spin. Also 
shout when you go after a fly so you won't 
have any conflicts with the first and third base- 
man. Yell, "I've got it," or "You take it." 

The blocking off of runners from the plate 
is one of the most dangerous things that a 



16 IIOW TO PLAY BASK HALL 

catcher has to do. Many players come into 
the backstop with their spikes showing and 
try to scare him away. I would recommend 
that a catcher use shin guards, as these often 
save a broken leg or bad cuts and make the 
base runners more careful about how they 
slide into a catcher. Illustration No. 5 shows 
how to block a man off, but I w r ould advise 
against this as much as possible because of 
the risk of injury. Whenever he has time, 
the catcher should go a few feet down the 
base line and touch the man, but, in a pinch, 
when the runner slides, the catcher must block. 
Otherwise, it may cost his team a run. 

In summing up, I want to say that the 
catcher should be "sizey" and must possess 
brains, for important plays revolve around 
him, and he can save many a game by quick 
thinking. That is the idea — to win — but, 
if necessary, be a good loser. I would 
honestly advise a boy to become a catcher if 
he has any adaptability for it, because there 
is more room in the Big Leagues for good 
catchers than for candidates for other posi- 
tions. Good catchers are very scarce. A man 
does not need to be so fast to be a catcher, 
but he should be a fair batter and have the old 
grit. Resort to plenty of practice. Never 



THE CATCHER 17 

try to cover weaknesses, but work to overcome 
them. And don't forget to "shape the ball." 

Don't be reckless needlessly. Remember, 
when a good man is hurt and out of the game, 
it breaks up the whole club, especially when 
he is the catcher. Have an understanding 
with your infleiders. Don't go after the same 
ball, and then let it drop between you. That 
has lost many a game. 

And always play hard. 



II 

THE PITCHER 

THE position of pitcher is the most im- 
portant one on a ball club, the twirler 
probably comprising about thirty per 
cent, of the entire strength of the team. The 
rest of the defence makes up about another 
thirty per cent, and the aggression or offence 
is equal to forty per cent., because a ball club 
cannot win any games, no matter how good it 
may be at fielding, unless it can collect some 
runs off the opposing team. 

Therefore, I have decided to preface my 
three lessons on pitching with a few general 
remarks which should be very helpful. In 
discussing the requisites of a pitcher, I shall 
not go into the extreme fine points which are 
required in a man fit for Big League service, 
but I will try to give my readers a thorough 
grounding in the art of pitching that should 
be very beneficial in developing them if they 
will follow my directions. If my student ever 
does get up to the Big League, his manager 

18 



THE PITCHER 19 

will drill him in the finer points, which are per- 
haps too involved to set down clearly on 
paper. 

And I hope that if any of the boys or 
young men who read these articles ever 
should get to me for a chance in the Big 
League, he will mention his preliminary study 
in these lessons, as I am eager to see just how 
effective these talks are going to be. But if 
any reader ever does reach me and admits that 
he has carefully gone over these lessons and 
then repeats some of the faults against which 
I am going to warn him in these talks, he 
need not expect to be complimented on his 
ability. Also, please remember that I am al- 
ways ready to help young pitchers and am 
constantly searching for men of ability. I 
would be glad to hear from any who can show 
recommendations that would warrant a trial 
with me. 

First, I like my pitchers to be big and rangy 
for many reasons. Lack of size does not 
necessarily prevent a man from becoming a 
successful pitcher, but it handicaps him. Some 
small men have been good twirlers — for ex- 
ample, Warhop, of the Yankees, who is said 
to be a very efficient performer ; Jack Pfiester, 
formerly of the Cubs ; Clarke Griffith, now the 



20 HOW TO PLAY BASEBALL 

manager of Washington, and others. But the 
smaller the man, the bigger and stauncher his 
heart must be to succeed, because the physical 
strain will be greater. 

Right here, I want to say something about 
the mental qualifications of a pitcher. He 
must have grit and a steady head. There is 
no job on the club so trying to the nerves, 
because it is up to the pitcher in every pinch 
to down the other team or be beaten. He 
must never admit, even to himself, that he is 
whipped, no matter how tight the situation 
is. This is true of every position on a ball 
club, and also in the game of life, but perhaps 
the stick-to-it attribute is more necessary in 
a twirl er than in any other player. If he 
begins to give up, it often has a depressing 
effect on the rest of the club. He must not 
be upset by errors in his defence, either, be- 
cause all teams will do this. It is generally 
up to him to hold the club together. 

Probably more boys or young men desire 
to be pitchers than to play any other posi- 
tion, perhaps because they believe there is more 
glory attached to the work of that job when 
they are winners. I have made Big League 
pitchers out of men who had the natural and 
physical ingredients. This shows that pitchers 



THE PITCHER 21 

are not all born, but can be manufactured by 
the proper treatment. Tesreau is a star who 
is a manufactured product. He had few of 
the gifts of a finished pitcher when he came 
to me, but he had the body and the head and 
the heart, and I made him a pitcher. If a 
boy should want some good ideas on pitching, 
let him watch Christy Mathewson work if he 
ever gets an opportunity. To my mind, he 
has the greatest combination of mental and 
physical qualities ever assembled in a twirler. 
Notice him when his club makes errors behind 
him. Does he lose heart? No. He only 
works the harder. That is what you fellows 
must learn to do. I say "you fellows" because 
I feel as if I were talking right to a big bunch 
of recruits in a spring camp. 

STYLE OF DELIVERY 

HP HIS lesson will be divided into two sec- 
* tions: (a) the Pitcher's Position in the 
Box with the Bases Empty, and (b) the 
Pitcher's Position in the Box with Runners 
on the Bases. 

Position in the Boa? with the Bases Empty 

When there are no runners on the bases, 
a pitcher wants to use his swing and windup 



22 HOW TO PLAY BASEBALL 

to the best advantage, as this is a big help 
in delivering the ball. Therefore, I would 
advise a boy cultivating one style of delivery 
first and sticking to that rather than switch- 
ing around from one to another and being 
unfinished in all forms. It is best to perfect 
one style. I would classify deliveries as fol- 
lows : 

1. — Overhand. 
2. — Side arm. 
3. — Underhand. 

The most effective form of delivery is over- 
hand, and I would advise all pitchers to aim 
to acquire this style for many reasons. It is 
a particularly desirable form for a tall pitcher, 
as he gets more leverage with the overhand 
swing and a better break on his curve ball. 
The ball is also easier to control when shot 
from an overhand swing. 

It is possible for a pitcher to develop an 
individual swing with eccentricities in the 
movement, but at first I would advise a young 
pitcher against it. It is too involved. He 
should practice a regular swing. This can 
be done without a ball. It is not a bad idea 
to do this before a mirror if there is a large 
one handy. 



THE PITCHER 23 

The regulation overhand swing starts with 
the ball and both hands held against the chest, 
and then the right or left arm, according to 
whether the man is a southpaw or a right 
handed pitcher, is swung in a short circle, 
with the muscles of the arm and body re- 
laxed. Finally, the pitching hand is brought 
back over the head and joins the other when 
the twirler swings back on his right foot if he 
is a right hander, or the left for a southpaw. 

A pitcher should swing as far backward 
as possible without losing his balance because 
in this way he tends to fool the batter by con- 
cealing the ball from his view for a moment. 
He should also pivot slightly on his back foot, 
which helps to conceal the ball. This long 
swing (Illustration No. 6) has two advan- 
tages : 

1. The pitcher gets the weight of his body 
behind the ball and does not pitch entirely 
with his arm. 

2. By his motion, he puzzles the batter as 
the latter watches the ball, and, when it disap- 
pears from view for a moment, the batter does 
not know exactly from where it will come. 
Some pitchers, after their arms have gone 
back on them, have lived in the Big Leagues 
for several seasons on their peculiar motions 



24 HOW TO PLAY BASEBALL 

alone, but I shall take them up later. The 
way to beat them is to get men on the bases, 
when they must cut this windup clown. 

Now comes the next important thing for 
a young pitcher to learn when he is practicing 
his swing with no runners on the bases. This is 
the style of placing the feet, which may make 
or break a twirler. 

When ready to deliver the ball he should 
stand with both feet flat on the rubber, the 
arch of each foot on it, and the feet an equal 
distance from the batter and about fifteen to 
eighteen inches apart, the distance being ad- 
justable to the pitcher's build and length of 
leg. Both feet are even or parallel in this po- 
sition and flat on the rubber. The ball is held 
up against the breast before starting the 
swing. Then take the swing, as already di- 
rected, and try to feel the pitch start from 
down at the base of the spine. That means 
you are getting your back into it, and your 
arm will be working simply as a whip to snap 
the ball away and regulate its direction. 

Be sure to cover the ball up with your 
gloved hand before starting the swing (that 
is, when the ball is held against your chest) 
because batters soon get to look at the posi- 
tion of the fingers to get a line on what to 




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Illustration No. 6— "Chief Bonder of the Athletics at top of 

swing just before delivering the ball. Note position 

carefully. The ball has been concealed from the 

batter by Bender's leg while he has pivoted 

slightly on his hack foot. 




Illustration No. 7— John Coombs of the Athletics just after deliver- 
ing the ball. Note how he has put his whole body into the 
pitch. He is also standing firmly on both feet ready 
to go after a batted ball. 




Illustration No. 8— "Cy" Young delivering the ball with run- 
ners on the bases. His right foot is swinging around in 
front of the left after the pitch. 



THE PITCHER 25 

expect and become so expert at it that they 
can tell, when the pitching hand is exposed 
the least bit, whether to look for a fast one 
or a curved ball. Of course, the ball leaves 
the concealment during the swing, but is 
again covered by the glove when the hands 
meet over your head just before it is thrown. 
All varieties of balls should be delivered with 
the same motion, the changes of pace and 
curves being obtained by the manner in which 
the ball is thrown and the wrist snapped. 
These will be taken up in a subsequent part 
of this lesson on pitching. 

Now, to review briefly the rudiments of the 
overhand swing. First, be sure to get your 
feet even on the rubber and then cover the 
ball. Take a long swing, concluding with the 
motion back over the head and balancing on 
one foot when the ball is concealed from the 
batter for a moment. Come straight over and 
get your back into it, landing firmly on your 
feet with your left foot in front if you 
are a right handed pitcher, or your right 
in front if you are a southpaw. (Illustration 
No. 7.) 

Landing firmly and properly on your feet 
is important, as pitchers who get tangled up 
and are off their balance after they have de- 



26 HOW TO PLAY BASEBALL 

livered the ball cannot field their position, and 
the visiting team will heat them by bunting. 
This is the weakness of many pitchers in the 
Big Leagues now, and they are constantly be- 
ing defeated by bunting clubs. Wise mana- 
gers will not start them against a team with 
good hunters on it. Therefore, be sure to 
land firmly on your feet with your weight 
on the front foot and ready to start in any 
direction for a batted ball. 

Do not forget the long swing with the back 
in the pitch. "Bugs" Raymond, if you ever 
saw him work, was a splendid example of the 
perfect pitching machine. He started his mo- 
tion from the base of the spine, and it was 
from this that he obtained his great speed 
and the jump on his fast ball. 

I thought "Bugs" had the most perfect 
pitching motion I have ever seen. He could 
go out and pitch all morning for batting prac- 
tice, and then go in and pitch a game on the 
same afternoon because his easy motion did 
not tire him. This easy swing is a great thing 
to obtain, as opposing managers often figure 
on a pitcher tiring when his delivery is awk- 
ward and play to make him pitch every ball 
that they can, expecting to beat him in the 
final innings when he wearies and weakens. 



THE PITCHER 27 

The side arm delivery is used more fre- 
quently and more successfully than the under- 
hand style, so we shall consider that next. 
This is valuable because, through it, a pitcher 
obtains a cross fire that is puzzling and shoots 
the ball at the batter from a different angle. 
It is not possible to get as much leverage on 
the ball with this sort of delivery, but many 
pitchers use it very effectively, "Ed" Walsh, 
the great pitcher of the Chicago White Sox, 
being the most striking example. 

The delivery is accomplished with the same 
sort of a preliminary swing that is used with 
the overhand pitching, the variation being ob- 
tained in the step, and in letting the arm 
swing around to the side just before the ball 
is delivered instead of straight over. 

Take the same swing that you use in get- 
ting ready for the overhand pitch and let the 
hands meet back over the head, balancing on 
the back foot. The front foot is raised off 
the ground, and the leg is coiled a little as 
in the overhand style. When your arm comes 
over, step out toward third base with your 
left foot, if you are a right hander. The 
average distance to step with this foot is about 
two feet, landing firmly on your feet, as in 
the other form, so as to field a batted ball 



28 HOW TO PLAY BASEBALL 

readily. The length of the step depends on 
the build of the pitcher. 

The advantage in this form of delivery is 
that you shoot the ball at the batter from a 
new angle, and he is suddenly surprised, the 
ball having been concealed for a moment when 
you took your backward swing as in the over- 
hand variety. In doing this, pivot on your 
back foot slightly so your body swings be- 
tween your pitching hand and the batter. The 
preliminary position is the same as for the 
overhand style, with both feet flat on the rub- 
ber and parallel. 

The underhand swing I do not care for 
and never recommend it. It is hard to con- 
trol the ball, delivering it from this unnatural 
position, and impossible to obtain so much 
speed. Its one advantage is that the batter 
is sometimes fooled because the ball comes 
at him from an unexpected place. Few big 
men have employed the style successfully in 
the Big League. "Joe" McGinnity, formerly 
of the New York Giants; "Jack" Warhop 
of the New York Yankees, and "Slim" Sallee 
of the St. Louis Nationals are the three 
notable examples of men who have been ef- 
fective with it. Many others have tried it 
and failed. 



THE PITCHER 29 

Young pitchers often cultivate this form, 
thinking that it gives them some kind of an 
up curve which is particularly deceptive to 
the batter. If any pitcher in baseball ever 
had a real up curve, I have not seen it. These 
underhand twirlers get a gradual rise on the 
ball because it is started from a low position, 
usually below the waist line, but there is no 
upward "break" on it. The angle is the only 
thing puzzling to a batsman. 

Besides making the ball hard to control, 
this sort of delivery is awkward and frequently 
leaves the pitcher off his balance and in no 
position to field a hit or a bunt. The pre- 
liminary swing is taken in the same way as 
for the overhand and side arm, but the arm 
is brought through below the shoulder instead 
of above it as in the other two styles. The 
first change comes when the arm is drawn 
back. The two hands do not meet over the 
head, but on one side, and the body is pivoted 
on the back foot until a right hander faces 
third base. 

Now, as I have said, I would advise a young 
pitcher to select one style of delivery first, 
preferably the overhand, and stick to it until 
he has perfected it. Let him cultivate control 
with the swing he has chosen. Then, if he 



30 HOW TO PLAY BASEBALL 

desires to "mix them up," he might practice 
the side arm swing, to work in occasionally 
with the overhand delivery. This combina- 
tion should make the most successful pitcher. 
I am strongly prejudiced against the under- 
hand ball and would not recommend it or 
try to teach it even to a small man. 

After the pitcher has practiced his swing, 
let him begin to vary the position and alti- 
tude of his hand when he lets the ball go. 
This inclines to fool a batter as he watches 
for the ball. If the ball is always coming 
from the one position, the batter can set him- 
self for it. Some pitchers are successful and 
always deliver the ball from the one posture, 
but they offset the knowledge which batters 
get of their style of swing by the information 
which they gather b}^ studying a batter's form 
and looking for his weakness. If a pitcher 
has developed good control, then he can shoot 
at this "groove'' with confidence in his ability 
to put the ball where he wants it. 

In getting the swing do not become dis- 
couraged. I want to preach patience and 
practice in these talks, as that is the only way 
in which results can be obtained. At first I 
would suggest trying the swing without a ball, 
and then back some friend who does not aspire 



THE PITCHER 31 

to be a twirler, or perhaps your father — if 
he has faith in you as a pitcher — up against 
a fence or barn door with a catcher's mitt 
on and practice the swing with the primary 
object of obtaining control. Let your volun- 
teer catcher umpire honestly. That is the only 
way in which results can be obtained. 

When a fellow thinks that he is perfected 
in his regular style, he might practice ec- 
centric motions, such as "Dummy" Taylor, 
formerly of the Giants, and Sallee, now with 
St. Louis, use. But I would not urge him 
to do it. Taylor remained in the National 
League for a season or two just on his be- 
wildering swing. He would stand in the pre- 
liminary position already indicated, take three 
or four swings in small circles with his right 
arm, and then whirl entirely around, facing 
second base, before delivering the ball, leaving 
the batter nothing to look at except his back. 
The ball would then shoot out from some un- 
expected position. In the last days of his Big 
League career, when I started Taylor I took 
him out just as soon as men got on the bases 
and he had to cut out his swing. I knew 
that "Dummy" would be beaten without the 
whirl. 

Sallee is the same sort of a pitcher, tying 



32 HOW TO PLAY BASEBALL 

himself up into knots and letting the ball go 
from some unexpected place, sometimes 
straight over his head and again off his shoe 
tops. But I would advise against these ec- 
centric deliveries until a pitcher has perfected 
some simpler swing and has gained control 
of the ball with it. It is time enough to 
practice on varieties when you begin to feel 
your arm going, but as long as you have the 
real "stuff" you don't need a moving picture 
motion. 

Position of Pitcher with Runners on the Bases 

After men get on the bases, the swing must 
go, with only one or two exceptions, because 
a base runner can get his start as soon as a 
pitcher makes a motion. When a base runner 
is on third base, then the motion does not 
need to be cut out because he cannot start for 
any place except home, and the chances are 
all against stealing home. It's a foolish thing 
to attempt. He must score on a hit, and it 
doesn't make much difference how much of a 
lead he takes with the motion. With men on 
second and third, or with the bases full, it is 
also possible to use the windup, but under 
any other circumstances with men on the bases, 



THE PITCHER 33 

it must be cut out. Always remember where 
your base runners are. 

When the swing is eliminated, the pitcher's 
preliminary position in the box is altered en- 
tirely. The left foot is placed about two feet 
in front of the right one if the pitcher is right 
handed, and the position is reversed for a 
southpaw. The heel of the back foot is just 
touching the rubber. Stand so as to see the 
base on which there is a runner if possible. 
For instance, if the man is on first base, watch 
him to see that he does not take too large a 
lead. Base stealing is often due as much to 
careless pitchers as poor catchers. Do not 
take any swing, but draw the arm back and 
pick up the front foot at the same time, set- 
ting it down as the ball leaves the hand. The 
back foot swings around in front ( Illustration 
No. 8) so that the pitcher, in this way, gets his 
weight behind the ball, and his back into the 
pitch without a windup. 

The final position of a pitcher, after de- 
livering the ball without a windup, is with 
his right foot in front of the left. Remember, 
the left foot was in front in the preliminary 
position. This is for a right hand pitcher, 
and the position is reversed for a left hander. 
The right foot, when the pitcher is right 



34 HOW TO PLAY BASEBALL 

handed, is brought around in front by lifting 
it off the rubber just after the ball leaves your 
hand, and just as the left foot is planted in 
the step taken with the pitch. This brings 
you up firmly on your feet, with neither foot 
on the rubber, and ready to field the ball. 

To repeat, in the preliminary position the 
left foot of a right bander is about two feet in 
front of the right, just the heel of which is 
against the rubber. With the delivery, the 
front foot is raised and planted with the pitch. 
The back foot then swings off the rubber and 
around in front to get the back in the delivery 
and to obtain the follow through. A pitcher 
can take his foot off the rubber as soon as 
the ball leaves his hand. 

It will require diligent practice to accom- 
plish this, as it is the hardest thing to do in 
pitching, the idea being to get the back be- 
hind the pitch without the preliminary swing. 
When standing in the box before pitching, 
be sure that your feet are not too close to- 
gether, as base runners take advantage of the 
resultant long step to get a start. One pitcher, 
who broke into the league with the Boston Na- 
tionals a few years ago, had this fault, and 
men were stealing bases on him almost at 
will before the flaw was corrected. 



Ill 

THE PITCHER 

Control and the Curve and Fast Balls 

AFTER the student has mastered the po- 
sition in the box, both with men on the 
bases and with the bases empty, let 
him work on his control, aiming to accomplish 
it while still observing the talks which I gave 
on position in the preceding chapter. When 
you start on a new branch of pitching, do not 
abandon what you have already learned. 

Control is the most valuable single quality 
a pitcher can possess. Of what use are curves 
and spitballs and freak deliveries if you can- 
not get the ball over the plate ? All the oppos- 
ing club will have to do to beat you will be for 
each batter to wait for four balls and walk 
around the bases. Control can be acquired in 
only one way, and that is by constant practice. 
There is an oft-repeated lament about young 
pitchers : 

35 



36 HOW TO PLAY BASEBALL 

"He has every curve in the world," says the 
recommender, "and speed to burn, but he lacks 
control." 

The pitcher, himself, is to blame for lacking 
this asset. Patience and practice will bring it 
to any fellow, and the younger he is when he 
starts to acquire it, the easier it will come, like 
learning a foreign language or how to swim. 
The preliminary step in getting control is to 
take a boy, younger than yourself, probably, 
because he will stand better without hitching, 
and back him up against a barn or fence and 
pitch to him. Put down a plate, of the exact 
dimensions of the standard plate or as near it 
as possible, and then let the boy who is catch- 
ing act as umpire. 

"Now," he should say, "this fellow (mean- 
ing the imaginary batter) hits them high and 
on the outside. Try to keep them low and 
close to him." That is the way Wilbert Rob- 
inson talks to my young pitchers in Spring 
training in Texas. 

Do not try to curve the ball at all at first, 
but just practice your swing and getting the 
control. Let the boy who is umpiring be just. 
By vigorous practice you will become so you 
can throw the ball just where you want to and 
can pitch at the batter's "groove." By the 



THE PITCHER 37 

term "groove," Big Leaguers mean a certain 
place where the particular batter does not like 
the ball. Most batters have a "groove" which 
can be discovered only through diligent ob- 
servation. This "groove" is not so apparent 
in younger batters as it is in the minor and 
major leagues, where baseball is a more highly 
developed science. 

To ascertain what kind of a ball a batter 
does not like, keep track of those he hits. If 
he steps back when you pitch, keep the ball 
on the outside of the plate, and the batter who 
steps back will never hit it. If a hitter crowds 
the plate, you might shoot the first one at him 
to drive him back, and then slip the next one 
over the outside of the plate. When you do 
not know a batter's weakness, a low ball on 
the outside is more apt to fool him than any 
other, because many young hitters have the 
habit of stepping back from the ball when they 
swing. This is an inexcusable fault in a hitter 
and one which a pitcher should take advantage 
of as soon as he sees it. 

Therefore, let the young pitcher deliver 
straight balls until he can lay the ball accu- 
rately over any part of the plate he wants to. 
This is what Big Leaguers call "working the 
corners." 



38 HOW TO PLAY BASEBALL 

Now, I want to try to explain why the 
straight, overhand swing is more valuable in 
obtaining control than either the side arm or 
the rise ball. Study Diagram No. 1, and you 
will observe that the lines drawn up from the 
corners of the plate and those extended from 
the shoulders and the line of the knees of a 
batter form a rectangle. It is through some 
part of this rectangle that the ball must pass 
to be called a strike. Now, if you are pitching 
with a side arm motion, you are throwing at 
the narrow measurement of the rectangle. 
That is, you are throwing at the part bounded 
by the lines extended up from the edges of the 
plate, which is only seventeen inches wide, 
while the length of the rectangle depends upon 
the distance between the batter's knees and his 
shoulders. This, of course, varies for different 
men, according to their height, but is always 
considerably greater than the width of the rec- 
tangle. In other words, when you are using a 
side arm motion, you are pitching at a space 
as wide as the plate, while the straight over- 
hand swing gives you the length of a batter 
from his knees to his shoulders as a target. 
Therefore, you see that the man with the 
straight overhand swing has a much better 
chance of getting the ball over the plate for a 



THE PITCHER 39 

strike than the one who employs only a side 
arm motion. 

Now for curves. Of course, every good 
pitcher should be able to throw curves. Big 
Leaguers recognize only one kind of a curve, 
which is the drop, but most youngsters talk 
about the "out," which breaks away from the 
right-handed batter; the "in," which jumps 
toward a right-handed batter, and the "drop," 
not to mention the "out- drop." Really, there 
is no such thing as an in-curve. It is next to 
impossible to throw a ball exactly straight. If 
the ball is delivered so that all the impetus 
possible is given to it when thrown by a right- 
handed pitcher, it will be noticed that the ball 
will jump in toward the right-handed batter. 
This is not a curve, but a shoot. The ball has 
as little revolving motion as possible while 
passing from the pitcher to the catcher. 

Let us consider this fast ball first. It 
should be held so that none of the fingers touch 
a seam. Take a baseball, and you will find it 
is possible to hold it so that none of the points 
of contact touch the seams. The advantage 
in this is that you get all the speed out of the 
ball with as little revolving motion as possible. 
When the fingers touch the seams, you drag 
the ball back just before you let go of it and 



40 IIOAV TO PLAY BASEBALL 

arc bound to put "English" on it, as the pool 
players say. By "English," I mean that pe- 
culiar twisting motion which makes a ball 
break and curve in its course. I shall take 
that up later in discussing the curve. See Il- 
lustration No. 10 for the right way to hold the 
fast ball. Note none of the fingers is touch- 
ing a seam. 

Now, every ball that is pitched should be 
held in the same way. It is not the manner of 
holding which gives the variety in pitching, 
but the style of delivery. Always hold the 
ball with the thumb and the first two fingers 
pressed against it. Big League pitchers who 
are working every day, either in a game or 
practice, get callouses on their fingers where 
the ball touches them. Many boys have a mis- 
taken notion that curves and shoots are ob- 
tained by the manner in which the ball is held. 
I have heard youngsters ask if two fingers 
gave an out and one an in and so on. This 
is not so. 

Be sure to hold the ball with the thumb and 
two fingers, and do not think you have to 
squeeze the life out of it. It is only for freak 
and difficult deliveries, such as the "knuckle 
ball," that the ball is gripped otherwise than 
with the two fingers and thumb. You grip 




Diagram No. 1. 




Illustration No. 10 — Position of fingers and thumb for fast ball. 
None is touching the seams of the ball. 





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THE PITCHER 41 

the ball slightly tighter for a curve than a 
fast one. Never wrap your hands around it, 
because then you will tip the batter that you 
are going to pitch a curve, you will lose con- 
trol, and display general bad form. Always 
cover the ball with your glove before pitching. 

The most valuable curve for a young fellow, 
I should say, is the drop. In the Big League, 
what is known as the old "round-house" curve 
is no good. This is what most boys label the 
out-drop. The reason it is not deceptive is 
because the ball starts to curve from the time 
it leaves the pitcher's hand, and the batter can 
see it curving and set himself for it. The 
sharper the break to a curve, the more valu- 
able it is. 

I would advise the youngster to begin im- 
mediately to learn to pitch the drop because, 
as I have said, the out-curve is not deceptive, 
for one thing, and it is hard to control, for an- 
other. 

Now, to attain the drop. It is not difficult 
if my pupils will simply follow my instructions 
and practice. Grip the ball with the first two 
fingers and thumb, as I have said. If you 
wrap your whole hand around it, against which 
proceeding I have warned you, the curve will 
lose its sharp break and you will get the out- 



42 HOW TO PLAY BASEBALL 

drop or "round-house." Grip the ball rather 
loosely with the two fingers and the thumb 
on seams (111. No. 11). If a boy or young 
man will take a baseball and experiment, he 
will see that the thumb and two fingers can 
touch seams by holding a ball in a certain way. 
It is easy to discover how the ball should be 
held by experimenting. By getting as much 
leverage as possible from the seams, you add 
to the friction necessary to give the ball the 
revolving or spinning motion from which the 
curve results. After you have been pitching 
for a time, you will find your thumb and two 
fingers are calloused from where they touch 
the seams. 

A curve ball naturally does not attain as 
much speed as the fast one because of its 
spinning motion against the air. A fast ball 
sails more. Therefore, do not try to throw 
your arm out in delivering a curve. Give it 
plenty of impetus, because the faster a curve 
breaks the more effective, but do not attempt 
to get speed at the cost of control and the 
curve. 

When throwing the drop, bring the arm 
straight over and let the ball spin off the two 
fingers with which it is gripped. If you are a 
right-handed pitcher, the ball spins over the 



THE PITCHER 43 

index finger of your right hand, and, if left- 
handed, vice versa. 

Now comes the important part about throw- 
ing this curve. It is the snap of the wrist just 
as the ball is leaving the hand which makes it 
curve. Bring the hand straight over from the 
shoulder, getting as much of the back and body 
into the pitch as possible, and then, just as 
you let the ball go, snap the wrist to give it 
the rotary motion. The whole thing is accom- 
plished with the wrist and arm, and it is this 
necessary snap which makes it difficult for a 
pitcher to throw curve after curve. It is very 
wearing on the arm. 

Now, to go over it again, because it is im- 
portant. Grip the ball rather loosely with the 
thumb and first two fingers, with each touch- 
ing a seam for the friction obtained. Bring 
the arm straight over, and, as the ball goes off 
over the side of your index finger, snap your 
wrist toward the ground. In pitching the 
drop, the palm of the hand of a right-handed 
pitcher is toward first base. That of a left- 
hander is toward third. The important things 
to remember about throwing this curve are to 
grip the ball with two fingers and the thumb, 
all touching the seams (the third finger barely 
touches the ball and does not grip it at all), 



44 HOW TO PLAY BASEBALL 

swing the arm straight over with the shoulder 

as a pivot, and give the wrist the final snap. 
Of course, do not exaggerate this gripping of 
the ball with only two fingers. Do not stick 
your third and fourth fingers out straight from 
it as though they would get poisoned if they 
touch it, but do not apply any pressure with 
these two digits. The ball goes right over the 
two fingers and inside of the thumb — not out- 
side — as it leaves the hand. 

Now, according to theory, if the arm is 
brought over exactly vertically with the shoul- 
der as a pivot, and the palm of the hand fac- 
ing first, the ball should break down. But, 
with right-handed pitchers, there is always a 
tendency for it to break away from the batter 
and, with left-handers, toward him, consider- 
ing the hitter to be right-handed. By turning 
the palm over a little so that it is more toward 
the sky than first base, you will get it to break 
out more, and you will also get the drop, too, 
but not so deep a drop. By turning the hand 
entirely over so that the palm is toward the 
sky, you get nothing but the plain out-curve 
with no drop. Against this I have already ad- 
vised. The point is to acquire a sharp-break- 
ing curve and not one which starts to curve 
from the time the ball leaves the hand and can 



THE PITCHER 45 

be identified by the batter at once. The sharp 
break can only be obtained with practice and 
by following the rules I have laid down. 
Any boy can throw an out-curve and almost 
any batter can hit it. Do not practice on this. 
Get the up and down snap of the wrist, and 
you have the drop. 

In throwing what is called, in the parlance 
of the Big League, the drop curve, which is 
the ball I have been talking about that breaks 
down sharply and away from the batter, better 
results can be obtained by aiming the ball at 
the batter and letting it break away from him 
and over the plate. This curve is obtained in 
the same way as a drop, except that the hand 
is turned over slightly, with the palm at an 
angle about half-way between the sky and the 
first baseman, with a right-hander. Do not 
turn it all the way over so that it faces the 
sky or you will get no drop at all and nothing 
but the out-curve. 

The reason I recommend starting the drop- 
curve at the batter is because you will have it 
called a strike, whether he hits at it or not, 
since it should break over the plate. I never 
urge a pitcher of mine to aim at the batter 
deliberately, with the idea of injuring him. It 
is foolish and dangerous and unsportsmanlike. 



46 HOW TO PLAY BASEBALL 

Occasionally, if the batter crowds the plate, it 
may be well to sail in a fast one close to him 
to drive him back. But in these lessons 1 shall 
not recommend any measures which will put 
the opponents to unnecessary risk of injuries. 

Now, in throwing the curve ball, keep it 
low and you will get better results. That is, I 
mean if you start a drop-curve at a batter's 
waist and let it break so that it crosses the plate 
about at his knees or just above, you will find 
it harder for the average batter to hit. You 
also get a better break to the curve. The ex- 
planation of this is that you get more leverage 
on the ball because, when aimed low, it does 
not leave your hand as soon as when it is aimed 
high and you get just that much additional 
force into it and can get a better snap of the 
wrist with the longer swing to the arm. Try 
this and see if it is not true. Therefore, as a 
general thing, I would advise the youngster to 
keep the drop low, unless he knows the batter 
is a natural low ball hitter. Then it would be 
suicidal to pitch at his strength. The ball must 
be started so as to break across the batter's 
shoulders or just below in that case. 

Just one more word about the fast ball, and 
I am through for this lesson. The most effec- 
tive fast ball has a hop toward the right-handed 



THE PITCHER 47 

batter when delivered by a right hander. In 
giving examples in these lessons we will take 
it for granted that both the pitcher and batter 
are right handed unless I signify otherwise. 
The reverse of anything I may say for right 
handers is true for southpaws. But this hop 
on the fast ball cannot be obtained all the time. 
Do not be discouraged if you fail to get it at 
first. Even Big League pitchers lack the hop 
on their fast one some days. Then we say 
they have an off day. Nobody knows why 
they fail to get the jump to it. It is one of 
the mysteries of baseball. In throwing the fast 
ball do not give it any spinning motion, and 
let it slip off the end of the first two fingers 
with as little friction as possible so that it will 
sail rather than spin. By trying it, you will 
find a baseball can also be held so that none 
of the fingers with which you grip it touch a 
seam. Remember, those are the first two and 
the thumb. There is no snap of the wrist in 
throwing this ball. The overhand pitcher 
brings his arm straight over from the shoul- 
der and lets it go off the ends of his fingers. 
The hop is not a curve, but a shoot. 



IV 

THE PITCHER 

The slow ball, the spitter, freak deliveries, and 
fielding the position 

IN discussing pitching under this head, I 
want to say that the only other impor- 
tant asset which a pitcher can possess 
outside of those I have gone over in the first 
two lessons is a slow ball. This gives him 
the benefit of a change of pace that is valu- 
able in fooling batters, but many great pitchers 
have served out their Big League careers with- 
out ever attaining the slow or "creep" delivery. 
It is a hard one to get. 

The slow ball is obtained with the same mo- 
tion as the fast one, but it is the result of the 
manner of delivery. Hold the ball with the 
first two fingers and thumb, but grip it very 
loosely, as delicately as you would a thin shelled 
egg. Take your windup as for speed or a 
curve, but as you let go of the ball relax your 
fingers so that they are barely touching it, and 

48 



THE PITCHER 49 

all the impetus which would ordinarily be given 
the ball by the swing of the arm and the drive 
of the body is lost because of the relaxed 
fingers. A good slow ball is hard to get and 
can be obtained only by the most careful prac- 
tice and patience. 

The first thing to be remembered in con- 
nection with the slow ball is that you must not 
alter your style in delivering it. If you do, 
the batter is tipped off right away as to what is 
coming, and the slow ball loses its value, be- 
cause it is the change of pace from speed to 
slow one that fools him. If the batter gets a 
chance to set himself for the ball, he can hit it. 
He must not be able to time the ball. Let me 
repeat the prescription for this change of pace 
or slow ball. Grip it as you would an egg 
and then let it float out of your hand "dead." 

The slow ball should not spin in its journey 
from the pitcher to the catcher. "Doc" White, 
the left hander formerly with the Chicago 
White Sox, was a great master of the slow ball. 
It is said that his slow one went to the batter 
without a single revolution, but that instead 
of describing a simple parabola, as would be 
expected, it wandered from side to side in an 
irregular line or drifts. Some pitchers spin 
the slow ball and get the slow curve by apply- 



50 HOW TO PLAY BASEBALL 

ing the same spinning motion and style of de- 
livery to it which result in the ordinary curve 
ball. To get this slow drop curve let the ball 
spin over the tops of the first two fingers and 
inside the thumb, getting the friction from the 
hold on the seams. For the ordinary slow or 
drift ball, it should be held without touching 
the seams, as for the fast one. 

A man must use judgment in working the 
change of pace. He cannot throw up one 
slow ball after another and expect to get away 
with it. After letting loose some speed and a 
curve, he should work in a slow ball, and the 
batter has swung before he realizes the altera- 
tion in the speed if the pitcher has been clever 
in springing it. What the pitcher wants to 
do is to make it unexpected — a surprise. 

Now for the spitball. When this delivery 
was discovered a few years ago, the craze for 
it swept over the country, and many asserted 
it would revolutionize pitching and put all the 
old boys, who depended on speed and curves, 
out of the going. First of all, I want to warn 
young pitchers against this form of delivery if 
they can get along without it. The spitball 
is hard on the arm of most pitchers because it 
has to be delivered "dead" — that is, without the 
revolving motion common to the curve. This 



THE PITCHER 51 

requires much wear and tear on the arm, since 
the deadness is obtained by the application of 
the spit and jerking the ball out of the hand 
instead of sliding it out as with the ordinary 
fast ball. Several seasons ago, it was thought 
that, in order to throw the spitter, the ball had 
to be pretty nearly drowned — that is, wet all 
over its surface. Most spitball pitchers did 
this, and it had disastrous results because it 
made the ball hard for the fielders and catcher 
to handle and resulted in many errors. 

Students of the delivery have discovered that 
the ball will break just as well if only that part 
of the surface which is touched with the two 
fingers that are applied to the ball is moistened. 
"Ed" Walsh, the great spitball pitcher of the 
Chicago White Sox, wets a place only about 
as large as a half dollar, and this is of great 
benefit to the fielders because when the ball is 
all "messed up" it makes it very hard to handle. 
In pitching the spitball, grip the ball so that 
neither the fingers nor the thumb touch a seam, 
as for the fast one. The friction from the 
seams gives it the undesired spinning motion 
and spoils the effect. 

For a long time pitchers had great difficulty 
in controlling the spitball, and many constant 
users of this delivery cannot tell you now which 



52 HOW TO PLAY IS ASK HALL 

way it will break when they throw it. The ball 
always breaks down (except in rare instances, 
which, for the present, can be disregarded), 

but now it will jump toward a right handed 
batter and again away from him without any 
apparent rhyme or reason in the method of 
delivery. Walsh, who is the best example 
among' the spitball pitchers, can tell you which 
way his ball will break, and he attributes this 
control to a slight spin he gives the ball as he 
releases it from his hand. The spitball of most 
pitchers goes up to the batter "dead" — that is. 
without any spin, maybe turning over once be- 
tween the pitcher and the catcher. Walsh's 
revolves five or six times. Now, when Walsh 
delivers the ball so that his arm comes straight 
over with the thumb toward the ground, the 
ball breaks straight down like a drop curve, 
only the break is much sharper. When he 
turns his hand over slightly so that the two 
fingers are toward third base and the thumb 
at an angle toward first, the ball will break 
down and out from a right handed batter. 
The thumb, in pitching this, is at an angle of 
about forty-five degrees from the ground. By 
turning the hand over so that the thumb is to- 
ward third and the two fingers toward first at 
the same angle as before the ball will break 



THE PITCHER 53 

in. Notice the accompanying illustrations. 

Now, Walsh has the most peculiar break to 
his spitter of any exponent of that delivery 
I ever saw. By turning his hand entirely over 
so that the two fingers are toward the ground 
and his thumb toward the sky, he can get a 
slight and very unusual up jump on the ball 
when he delivers it with an underhand motion. 
The reader will see by these explanations that 
the ball always breaks toward the position of 
the thumb, and Walsh, himself, attributes this 
to the slight spin given the ball by the thumb 
just before he lets go of it (Ills. Nos. 12 
and 13). 

In talking to young fellows about the spit- 
ter, I am getting into higher baseball, and 
delving into deliveries which are hard to mas- 
ter without active coaching by an expert. The 
result from a spitter can be obtained by wet- 
ting the ball on the spot where the two fingers, 
with which it is gripped, touch it. Then let 
the ball go off the ends of the fingers with 
speed and without friction, as in delivering the 
fast one, and give the wrist a backward jerk 
just as the ball leaves the hand. This jerk 
supplies the ball with its extra speed and lets 
it shoot out of the hand as out of a sling. But 
the resultant jolt is hard on the arm, 



54 HOW TO PLAY BASEBALL 

The cross-fire is confined largely to tall men 
because the pitcher using it has to take a long 
step out of the box to get results. The inten- 
tion is not to fool the batter by any curve or 
break on the ball, but by the angle at which it 
comes at him. Therefore, a cross-fire pitcher 
must vary the angle constantly. Sallee, the 
tall pitcher of the St. Louis Nationals, is a 
splendid example of the cross-fire pitcher. He 
has the slim build and length of arm and 
body. 

The cross-fire is delivered in the same way as 
a fast ball. The ball is gripped with the thumb 
and first two fingers, used in all pitching, but 
the step and body bring the results. A right 
bander who uses the cross-fire steps out of the 
box toward third base with his left foot and 
shoots the ball from the extreme angle with 
his right foot just touching the rubber. The 
batter gets the impression the ball is coming 
at him and steps back. It may cut the outside 
corner of the plate. A young ball player 
is likely to get badly tangled up in delivering 
this ball if he is not careful. The final position 
often brings him all out of position to field any 
hits which may result. It is another style of 
delivery to avoid. At best, it must be mixed 
with other deliveries to be effective because 



THE PITCHER 55 

the result is obtained from the unexpected 
angle and not from the break on the ball. 

The fadeaway, of which Christy Mathewson 
of the Giants is practically the only exponent 
in baseball, and a delivery likely to die with 
him when he quits the game, and the "knuckle" 
or "finger nail" ball come under the head of 
freak deliveries. It would be foolhardy for 
a young pitcher to try to perfect these two 
short of the Big League. If he cares to, there 
is no harm in attempting these freak deliveries 
in practice, but they are too hard to control 
to risk in a game. I have seen Mathewson try 
time and again to show pitchers in the Big 
League how to throw the fadeaway, even 
twirlers on rival clubs, but none, besides him, 
has ever been able to use it successfully. Some 
get it but cannot control the ball. Ames can 
throw it sometimes, and Drucke, formerly of 
the Giants, got the best results outside of 
Mathewson, but he never got good enough 
control to risk its use in a game. 

It is easy to tell how to throw the fadeaway. 
The results are hard to achieve. In delivering 
an outcurve, the ball is held by a right hander 
with the two fingers and the thumb, with the 
thumb pointing toward third base and the palm 
of the hand held toward the sky. This gives 



56 HOW TO PLAY BASEBALL 

the ball a spinning motion when it slips oil' the 

end of the tlunnl) with a jerk of the wrist that 
causes it to break away IVoni a right handed 
batter. Now, in getting the fadeaway, the ball 
is held in just the same manner as for an out- 
curve, but the hand is turned over so that the 
palm is toward the ground instead of the sky, 
putting the hand in an awkward position. 
Then the ball is released off the end of the 
thumb with the snap of the wrist characteristic 
of the outcurve, only the hand is jerked toward 
third base instead of first as with the outcurve. 
The result is a slow incurve toward a right- 
handed batter, a very valuable thing if proper- 
ly used. 

Two things make this ball difficult to de- 
liver. One is the unnatural position of the 
hand, with the palm toward the ground. This 
means that, in getting the final jerk, you get 
it away from the body instead of toward it, as 
in other curves. The other hard thing about 
it is just that jerk. Pitchers do not seem to 
be able to get it right and control the ball at 
the same time — only Mathewson, and he says 
it took months of patient work to accomplish 
it. lie uses it for a slow ball because, neces- 
sitating that difficult snap of the wrist, it can- 
not be thrown fast. The ball comes up to the 




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Illustration No. 15 — Frank Chance covering first. Note that he 
has given the runner room to cross the bag. Correct form. 



THE PITCHER 57 

batter lazily and falls down and toward him 
after seeming to pause for a moment in front 
of him. It is a remarkable and very deceptive 
curve. 

Much has been written and said of the 
"knuckle" or "finger nail" ball. It is one of 
the hardest to pitch and has been mastered 
by very few t wirier s. The preliminary posi- 
tion of the hand in delivering it is as for the 
straight ball, gripping it with the two ringers 
and the thumb. But, as the arm is drawn back, 
the two fingers are cocked on the ball as though 
you were going to flick off a piece of paper. 
(Illustration No. 14.) Then, as the ball is 
let go, the fingers are snapped out straight, 
which causes the ball to sail up to the batter 
"dead" and act very much the same as the spit- 
ball does. The peculiar snap of the fingers as 
the ball is let go at the full swing of the arm 
does this and gives it the "dead" set. The ball 
breaks down. I would not advise any one to 
try this. The fingers do not touch the seams in 
pitching this ball. 

That about clears up the freak deliveries. 
But there is a lot of good pitching besides 
throwing the ball. Fielding is very important. 
A pitcher who cannot field his position is very 
nearly helpless because the opposing side will 



58 HOW TO PLAY BASEBALL 

start to bunt the ball and beat him sure. Only 
praetiee will accomplish good fielding. I take 
my young pitchers in the Spring and send the 
practice batters up to the plate with orders to 
do nothing but bunt. This gives them a chance 
to learn how to lay the ball down, and shows 
the pitchers how to field it. A pitcher, in 
handling bunts, must work in conjunction with 
the first and third basemen and not mix up the 
plays. If the ball goes toward third, let him 
yell at the third baseman to get it, if he sees 
that this man can field the ball, and keep out 
of his way. When the pitcher is expecting a 
bunt, he should follow the pitch through and 
take a step or two toward the plate after he 
delivers the ball and stand poised on his toes 
ready to field the bunt fast. Do not approach 
too close to the batter because, if he drives the 
ball, you are liable to be hurt. 

The pitcher must learn to back up throws 
and cover first base. On a hit toward the first 
baseman between first and second, the pitcher 
should run over and cover the bag so that he 
can take the throw and give the first baseman 
a chance to field the ball. The pitcher should 
also cover first on slow hits down the first base 
line which the first baseman must field. If the 
pitcher will cover first base, he will find that 



THE PITCHER 59 

his first baseman can cover ground like a short- 
stop and knock down a lot of hits for him that 
would get away otherwise. A first baseman 
must get to depend upon his pitcher to cover 
so that he can go after balls with confidence. 
The pitcher should start as soon as he sees that 
the ball is hit toward first base so as to get to 
the bag in time, and yell : "I'll cover the bag." 
Then the play is not balled up. 

In addition to fielding, the pitcher must 
learn to back up on certain plays. On a throw 
to third base from the outfield, the pitcher 
should be over behind the bag. Many a game 
has been lost because the ball gets by a third 
baseman on a bad bound and there is no one 
behind to back up. The runner is sure to score. 
The pitcher should also back up the plate on 
throws home. If the ball gets by the catcher, 
this backing up prevents runners on the bases 
advancing or the possibility of the man who 
has stopped on third base scoring. This back- 
ing up of plays is important and will save 
close games day after day. Do not be lazy 
about it. Because it was unnecessary twice, 
do not refuse to back up the third time. 

A pitcher cannot be too careful with his 
catcher in arranging the signs. As I said in 
the lesson on catching, there should be two or 



GO HOW TO PLAY BASEBALL 

three sets so that, if it is thought the other club 
is getting your signals, you can switch to an- 
other set. Sometimes the pitcher gives the 
signs himself by nodding his head, and then 
the catcher always gives fake signals, intended 
to throw off the other side. 

Be careful never to cross vour catcher. 
What I mean by this is, that if he signs yen 
for a fast ball and you approve of it, do not 
hand him a curve. He is not looking for it, 
and the ball may get aw r ay from him. Passed 
balls are one of the most costly things in base- 
ball, and the pitcher is quite as often to blame 
for them as the catcher because he crosses his 
receiver. Be sure that you have received the 
sign the catcher is giving, and then deliver the 
sort of ball he asks for. If you disagree with 
him in his judgment, shake your head, no, and 
make him change his sign. But never cross 
him and be sure that you have his signal right 
before you pitch. 

Judging the batters is another branch of the 
pitching art. By judging batters, I mean 
studying them to get at their weaknesses. 
When you first look at a man's position at the 
plate and his manner of holding the bat, you 
can get a line on the kind of balls he likes and 
those he dislikes. If he stands far away from 



THE PITCHER 61 

the plate, he probably likes balls on the inside, 
and the thing to do then is to keep the ball 
on the outside of the plate so that he cannot 
reach it. If a man crowds the plate drive him 
back and then keep the ball on the inside. He 
likes them on the outside. 

Some men are natural curve ball hitters. If 
a player uppercuts the ball, you can be sure 
he likes them low and can hit curves. By up- 
percutting the ball, I mean he pulls his bat 
up when he swings, starting it low rather than 
pushing down on the ball. Sherwood Magee, 
the great hitter of the Philadelphia Club, is 
this type of batsman. You want to pitch high 
to such a man. If you find a young batsman 
pulling away from the plate, drive him back 
first by scaring him with a close one and then 
keep the ball on the outside of the plate. 

Always try to outguess the batter by giving 
him the delivery he is not expecting. Mix them 
up as much as possible, but try to keep him in 
the hole rather than yourself. By keeping him 
in the hole, I mean get more strikes than balls 
on him. If you do get into the hole, — that is, 
with three balls and no strikes or one strike on 
the batter — do not try to put over a curve 
unless you have excellent control of it. And 
even in this situation I would not advise cut- 



62 ILOW TO PLAY BASEBALL 

ting the heart of the plate with the ball because 
it is better to walk a man than to lay the ball 
where he can drive it for two or three bases. 
Try to keep the ball on the plate, but over the 
edges, where he cannot hit it well. You must 
use your judgment in each particular instance. 
Whenever you notice a weakness in a man, put 
it down in your mind and use your knowledge 
against him. If you expect a batter to bunt, 
keep the ball high. It is hard to bunt a high 
one. To acquire the art of judging batters, 
a pitcher must learn much of what he uses 
through actual experience. 



V 

FIRST BASE 

SO far we have been considering the 
men on a ball club who are pillars of 
strength on the defence, and in whom 
speed is not essential — the pitcher and the 
catcher. But now I come to discuss the in- 
fielders and outfielders, in both places fast men 
being far superior to slow ones. Good batsmen 
are also desirable both in the infield and out, 
but particularly in the outfield. 

The successful infielder must be fast on his 
feet and a quick thinker. He must be in touch 
with the game all the time and keep a close 
eye on both the catcher and the other infielders 
for signs. His work fits into the infield as a 
cog into a machine. If he fails to perform his 
share, the whole machine falls apart. 

Personally, I like fairly big men to cover 
first base, although the old theory that a man 
must be six feet high to get away with it has 
long since been dissipated. 

The man who covers the initial bag has to 

6a 



64 HOW TO PLAY BASEBALL 

do as much thinking as any player in the in- 
field, for numerous plays revolve around him 
in every game that may cost the victory. Of 
course, the routine work of playing the hag is 
easy enough if he can catch a thrown ball. I 
am going to take it for granted that the can- 
didate for the job knows how to do this. He 
should always let his hands give with the ball 
and try to swing them toward the natural posi- 
tion for throwing so that he is ready to make 
a play to any other bag or the home plate if 
there are other runners on the bases. The 
expert first baseman soon learns how to shift 
his body so as to receive the ball on his right 
side, if he is a right bander, and vice versa if 
a southpaw, to be prepared for throwing, but 
still getting his body slightly behind the ball 
so as to block it if it goes through his hands. 
By letting his hands give with the ball when he 
receives it, he does not stand so much chance 
of muffing it because, if the ball hits his hands 
when his arms are stiff, it is almost sure to 
bounce out of his hands. It is also liable to 
bruise his hands and thus prevent him from 
being of much use to his club for some time. 

The great difficulty about playing first base 
is the position in covering the bag so as not to 
interfere with the runner and still get thrown 



FIRST BASE 65 

balls from all sides of the base. This requires 
the footwork of a boxer. The first baseman 
must also be able to handle high and low throws 
with a certain amount of dexterity because the 
infielders uncork a lot of bad throws in their 
anxiety to get the ball away in a hurry. The 
only way for the first baseman to become ex- 
pert in the mechanical end of the game is 
through practice. By the mechanical end, I 
mean handling thrown balls. He can get this 
practice by hanging around an infield, when 
batting practice is going on or when some one 
is hitting them out for practice, and playing 
the bag for the other infielders to throw at 
him. He should attempt to take every ball 
on the fly that he can without pulling himself 
off the bag to do it. Of course, a first baseman 
who pulls his foot off the base is of no use be- 
cause he loses his put-out as soon as he does 
this and concedes the play at once. 

In receiving pickups, the results are obtained 
through knack acquired by practice. It is the 
ability to judge a bounce, and you should shove 
your hands at the ball and up in the same 
movement. Keep your legs together as much 
as possible so as to prevent the ball going 
through you if you miss it on the pickup, but 
do not cramp yourself to accomplish this. That 



66 HOW TO PLAY BASEBALL 

is the mistake many coaches make in instruct- 
ing young ball players. They make them keep 
their legs together on all ground hits, and they 
tie themselves up into such awkward knots as 
a result that they have not a chance to field the 
hall. There is one thing for a first baseman to 
remember through all his work, and that is he 
must keep his foot on the bag. If he can do 
this and block the ball at the same time, then 
he has accomplished just that much more. 

The foot work of a first baseman is extreme- 
ly important. He must be shifty on his feet 
and move about rapidly in covering the base. 
There is one cast iron rule about receiving 
throws which is never to be disregarded except 
in extreme emergencies. That is to play the 
bag on the inside, or toward the pitcher, when 
receiving throws from the infielders. This po- 
sition has numerous advantages. In the first 
place, by assuming it you cut down the dis- 
tance the infielders must throw the ball, and if 
the decision on the runner at first base is 
close, you may get it by the reach from the 
inside of the bag. When you play from be- 
hind the bag in covering, you will find yourself 
blocking the runner and will receive some hard 
bumps. Besides that, you are very likely to 
lose the ball as a result of the collision and may 



FIRST BASE 67 

give the runner an extra base if the ball rolls 
very far. 

You will observe that none of the good first 
basemen ever collide with the base runner. The 
runner is entitled to the bag, and you should 
give it to him by playing it from the inside 
whenever possible. (111. No. 15.) I mean 
you should run in from the position where you 
are standing toward right field when the ball 
is hit and touch the bag with the heel of your 
left foot, with your right foot extended to- 
ward second and facing the infielder who has 
received the ball. This gives him a target at 
which to throw. If you see that the ball is 
going to arrive on the other side of the bag 
out of reach from your first position, shift 
over, touching the other corner of the base with 
your right heel and with your left foot in foul 
territory. Always try to avoid collisions. 

In the first position I mentioned, the runner 
has plenty of room to pass behind you or to 
cross the bag between you and the foul line. 
In the second, he has an opportunity to pass 
over the base inside of you toward the infield. 
You will find yourself a very much more suc- 
cessful and a healthier first baseman if you 
give the runners a chance at the bag. If you 
have to go up in the air after a ball, jump to 



68 HOW TO PLAY BASEBALL 

land on the inside corner of the bag and not in 
the path of the base runner. By practice, you 

soon learn to shift your position so as not to 
block. 

When there is no runner on first base, the 
first baseman stands about sixteen feet off the 
bag and about twenty feet behind the first base 
line out toward right field, unless there is a 
man on third and the play is likely to be at the 
plate. Of course, a fast man can take more 
ground away from the bag and thus cover more 
territory than the slower one, but I should say 
that twenty feet is about the normal distance. 
He must be able to get in and cover the bag 
in time to receive a thrown ball. 

If the ball is hit at him, let him field it and 
run to the base and touch the bag if possible. 
Every time a ball is thrown in a ball game 
there is a chance of a bad throw or a muff 
taken, so that if the first baseman can beat the 
runner to the bag with the ball, he is just that 
much surer of getting his man. However, he 
should learn to work with his pitcher on hits 
of this kind. If he will insist that the pitcher 
run over and cover the bag, he will find he can 
spread himself over a great deal of ground. 
Every time that a ball is hit toward the first 
baseman, the pitcher should run over to cover 



FIRST BASE 69 

in case it is necessary. In order to accomplish 
this, the pitcher should start as soon as he sees 
the ball is hit at the first baseman. Then, if 
his services are not needed, he can slow up just 
before he reaches the bag so as not to interfere, 
because the good first baseman will say: "IVe 
got the bag." 

But when the hit is so deep that a throw 
must be made to the pitcher, the first baseman 
cannot afford to get excited. This is one of 
the hardest plays in baseball to make success- 
fully, anyway, because he must time his throw 
to cross the bag just as the pitcher, who is run- 
ning at it, does, and the pitcher must avoid 
collision with the base runner, which is liable 
to follow because their paths cross at the bag. 
The first baseman should not shoot the ball or 
throw it hard at the pitcher, and he should 
not deliver it until the twirler has almost 
reached the base. Then let him toss it at the 
bag and not at the running man, underhand 
preferably. 

After a man gets on the base, the position of 
the first baseman changes. He must be in 
there to hold the runner close to the bag to 
prevent him from getting a good start in steal- 
ing. With a man on the base, he stands inside 
the diamond with the heel of his left foot on the 



70 HOW TO PLAY BASEBALL 

bag and his right extended out toward second 
base. The first baseman should be ready to 
receive a throw from the pitcher at any time, 
and no signal is necessary for this play. In 
trying to touch the runner, sweep your arm 
through and tag with the same motion you 
make in catching the ball. But be careful the 
ball is surely in your hands before you try to 
put it on the runner. Many men attempt to 
touch a man before they have the ball. Al- 
ways try to touch him every time you receive 
the ball. 

Never dab at a man more than once unless 
you know you have missed him the first time 
and see that he is still plainly off the base. By 
taking a second stab at a base runner, you 
admit you did not touch him the first time, and 
maybe the umpire thought you did and would 
have called him out. In covering the base to 
receive a thrown ball from the infield after the 
batter has hit it, always face the man who is 
going to deliver it. Be sure that you have your 
foot on the bag. This sounds like foolish ad- 
vice, but it is very often necessary even after 
men get up high enough for a Big League 
trial. In their anxiety to get the throw, they 
forget to keep their foot on the bag. And do 
not take your foot off until after you have 



FIRST BASE 71 

received the ball. This is a habit of many ball 
players and has cost lots of decisions. 

When there is a man on first base, as soon 
as the pitcher starts to deliver the ball to the 
batter, the first baseman should run down the 
base line and back behind it a little to cover 
more ground. Of course, the base runner will 
take a lead off the bag with the drawing back 
of the pitcher's arm to deliver the ball and 
many times he will try to fool you into believ- 
ing that he is going to steal when he only wants 
to draw a throw. Watch him, and if you see 
he is really going, shout: "There he goes." 

Frequently, this flash will get to the pitcher 
before he delivers the ball and he can serve up 
a pitchout so that the catcher will have a better 
chance of getting the runner at second base. 

But in some respects it is a dangerous 
course because the coacher at first base will 
endeavor to imitate your voice and shout : 
"There he goes!" 

Of course, the batter has no intention of 
trying to steal, but the coacher at first base, by 
his sudden shout, has fooled the pitcher and 
he cuts loose a pitchout which gets him into the 
hole with the batter. Therefore, if you intend 
to attempt this warning, be sure to arrange 
with the pitcher beforehand to put some little 



72 HOW TO PLAY BASEBALL 

cue on it. For instance, tell him that you will 
shout "There he goes now." The "now" will be 
the catchword. The coacher will not notice 
this, and yell only, ''There he goes," in trying 
to imitate you. If the coacher gets wise to it, 
shift to another word, as "There he goes 
down," "down" being the catchword. Never 
shout the sign to the pitcher unless you arc sure 
the base runner is really going to try to steal. 
You only make trouble for the pitcher then. 

The play of a first baseman becomes more 
complicated as soon as men get on the bases. 
If the score is close and a man is on third base 
with less than two out, the entire infield moves 
in toward the plate so as to make the play to 
the plate and cut off the run. If there is a man 
on first as well as third on this play and one is 
out, I would recommend having the infield play 
back and try for a double play. In this way, 
the infielders are able to cover lots more 
ground, and I believe that a double play is 
successful oftener than one to the plate to get 
the runner. 

With a man on first and second bases and 
the score close so that you expect a sacrifice, 
the first baseman should play well down the 
base line, probably about twenty feet toward 
the plate. Then he can make the play to third 




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FIRST BASE 73 

base, forcing the man there, and thus getting 
the runner nearer to the plate. In this case 
the second baseman covers the first bag. He 
moves over toward first before the pitch until 
he is about halfway between first and second 
bases, and runs right down to cover the bag 
if he sees that the batter has laid the ball 
down. The first baseman edges in a few 
steps closer on the pitch if anything, but 
I want to warn a man about getting too close 
to the hitter because a clever batter will cross 
you and drive the ball at you. A line drive 
at that range is dangerous, so, if you cannot 
handle it, be ready to duck quick. And do not 
make the play to third base unless you see you 
have a good chance to get the runner. If 
the man on second is speedy and is only a few 
feet from third by the time you have fielded 
the ball, do not throw. Remember there is still 
the natural play left. Either touch the run- 
ner going to first base, if you yet have time, or 
whirl and throw to first, where the second base- 
man is covering. It is hard to get a fast man 
going to third base on this play. Never throw 
unless you are sure of nailing him. A wild 
throw will cost a run. 

As you will see, when you read the article 
on Team Work, the first baseman must have 



74 HOW TO PLAY BASEBALL 

a set of signs with the catcher and other in- 
fielders. The object of the signs with the 

ca teller is for the first baseman to know when 
the catcher intends to throw down to nip a base 
runner napping. It is best for the first base- 
man to give this sign to the catcher, but let 
him get some answer confirming it so he will 
know that the catcher is prepared. Suppose 
he thinks a base runner is taking too large a 
lead off with the pitch. While the pitcher has 
the ball in the box after the catcher has given 
his signs to him, he should take a look around 
the infield to see that the men are playing all 
right. Then the first baseman should flash a 
sign meaning he will cover as soon as the catch- 
er gets the ball. This sign must be some simple 
and commonplace action which will not be de- 
tected by the opponents. For instance, the 
first baseman can hike up his trousers, but he 
must remember never to do this unconsciously 
when he does not mean it. The catcher, to 
acknowledge the receipt of the sign, reaches 
clown and pats his glove in the dirt. Then the 
first baseman immediately runs back to the bag 
behind the baserunner to receive a throw from 
the catcher, having made only a bluff at leav- 
ing it to fool the base runner. The catcher 
throws the ball as soon as he receives it because 



FIRST BASE 75 

the play depends on the speed of its execution 
for its success. The first baseman must be 
there to cover and must tag the runner quickly. 
Many managers advocate the first baseman 
and the other infielders blocking the base line 
on a long hit to slow up the runner in taking 
the turns and give the outfielders more time. 
I do not urge any of my players to take an 
unfair advantage, but each one should assume 
the position at the bag to which he is entitled 
by the rules. For instance, the first baseman 
can stand at the inside corner of the oag to 
make sure the runner takes his turn instead of 
cutting just the corner of the base as he would 
if the first baseman had not stood there. Each 
man should watch to see that the runner 
touches every bag, too, and, if he does not, call 
the umpire's attention to it at once. Do not 
stand on the bag and block the runner alto- 
gether, because it is against the rules in the first 
place, and, in the second place, if you could 
get away with it the members of the other club 
would only be after you. There is no use in 
making yourself trouble. Simply stand on the 
inside of the bag and make the runner go 
around you. It may save a three-base hit or 
a home run. 



VI 

SECOND BASE 

THE position of second base is one of the 
most important on a ball club because 
it is the keystone position of the 
whole infield. The second baseman holds the 
infield together and, therefore, he must be 
brainy. He also must be courageous because 
he encounters many tough plays when runners 
come sliding into the bag. 

The second baseman may be slower of foot 
than the shortstop or third baseman, and his 
arm may be weaker than those of his two fel- 
low infielders because his plays to first base are 
not as hurried as those from the other side of 
the diamond as a rule. Lajoie and "Johnny" 
Evers are examples of this. Neither one has a 
throwing arm of exceptional strength, but they 
are two of the best second basemen in the game. 
The second baseman is supposed to be a better 
batter than the shortstop or third baseman 
because speed and a good whip are required of 

7r> 



SECOND BASE 77 

the latter two, while they are not essential to 
a second baseman. 

I would advise any young fellow who is a 
good hitter and who is sure on ground balls, 
but who has a weak wing, to try to become a 
second baseman. 

The good second baseman should be able to 
go either way after ground balls. Many play- 
ers have a weakness on one side — that is, they 
cannot field the ball well on either their right 
or left side and this is a great handicap to the 
second baseman because he receives about as 
many chances on one side as the other. I 
should say that such a fault would be fatal to 
the success of a man in any company that 
boasted of even medium class. The only way 
to break himself of this weakness is to practice 
constantly in fielding balls on the weak side. 
The one thing to remember is always to play 
the ball and never let it play you. 

Letting the ball play you is responsible for 
most of the infield errors on teams short of the 
Big Leagues and for a few in the major or- 
ganizations. Make up your mind how you 
are going to take a ground hit, as soon as you 
see it coming, and then go after it with deter- 
mination. If you hesitate, you are gone, be- 
cause then the ball plays you. It is very bad 



78 HOW TO PLAY BASEBALL 

form ever to back up on a ball because you will 
almost invariably get it on a bad bound, and it 
will play you. You are going with tbe ball 
tben instead of against it. If the ball is hit 
slowly, go in on it and have confidence in your- 
self. Decision is what counts. The reason so 
many youngsters fail to handle ground balls 
cleanly is because they wait to make up their 
minds how to take them and are backing up on 
the ball instead of going toward it. This is a 
bad flaw, since, besides making the ball harder 
to field if yqu do get it, you are put all off your 
balance for the throw by your awkward posi- 
tion. 

Play a ground ball close to the ground and 
do not keep your legs together unless you have 
a chance to set yourself for it. (111. No. 16.) 
Keeping the legs together used to be a rule of 
the game, but I believe it cramps up a man 
more than it benefits him. It makes his work 
awkward instead of graceful, and he loses lots 
of chances on which he might make clean plays 
if he had gone after the ball naturally. The 
great secret of getting a ground ball is to be 
going to meet it with your body and hands 
rather than pulling away from it. Then you 
are steadier on your feet and in a better posi- 
tion to throw. A second baseman must be 



SECOND BASE 79 

able to snap the ball from any position be- 
cause he receives so many balls that he just 
gets on the run and has not the time to 
straighten up and set himself for the throw. 

Bear this in mind. Whenever you have the 
time, take it, of course. If you have made a 
clean pickup on a smartly hit ball, do not shoot 
it at the first baseman from any old angle and 
take a chance on him getting it. Straighten 
up and set yourself for the throw. 

The second baseman's normal position is a 
little nearer second than first and back of the 
base line almost at right angles to the point 
where a line drawn from the home plate to 
center field would cut second base. The second 
baseman is supposed to cover more territory 
than any other infielder and will be frequently 
called upon to go out into short right field 
for flies or to come in on slow ground hits. 
If the second baseman will play deep, he 
will permit the right fielder to cover more 
ground because the latter can play his position 
deeper. 

The second baseman is in a position to ob- 
serve the signs that the catcher is giving the 
pitcher and should play the batter according to 
these. For instance, if he sees that the pitcher 
is going to give a right handed batter a curve 



80 HOW TO PLAY BASEBALL 

ball on the outside corner, lie will shift his posi- 
tion over slightly toward first base because the 
hitter will probably prod such a pitch, if he hits 
it, toward right field. Doyle, the second base- 
man on the Giants, passes this sign along to 
the outfielders by some simple motion such as 
putting his right hand on his right knee, while 
the gloved one is not touching his body, and 
they shift a little bit toward right, but not until 
the pitcher has delivered the ball, because that 
might tip the sign off to the opposing batsman. 
If the batsman should see all the outfielders 
starting toward right field, he would naturally 
expect a pitch on the outside of the plate. 

When the fielders have taken a step or two 
after the pitcher lets go of the ball, they should 
stop before the batter hits it because he may 
punch it to the other side of them and then 
they would be caught off their balance and 
going the wrong way. 

The second baseman must have a series of 
signs with the shortstop about covering the bag 
when a runner is on first and likely to steal. If 
one of these men covered the bag continually, 
the result would be that the base runners would 
know who to watch, and there would be more 
stolen bases. But, by alternating, the runners 
are often caught off their guards. It is simple 



SECOND BASE 81 

to arrange these signs. They must always be * 
some natural movement which the other team 
will not detect because of its apparent natural- 
ness. Let one of the two men, the shortstop or 
second baseman, give the sign. On my club, 
Doyle, the second baseman, gives the signal as 
to which shall cover. Always be sure that the 
shortstop gets the signal, so he will not ball up 
the play. 

In preparing to play the bag for the recep- 
tion of a base runner, move over slightly closer 
to the base so that you will not have to start 
toward it in earnest until after the catcher has 
caught the ball. If you start before this, you 
leave a big gap at your position through which 
the batter can drive the ball in case he hits it. 
Remember the catcher is playing the ball to 
the bag and not to you. Cover ou the run, 
and slightly behind the line, so the runner 
must slide in front of you. (111. No. 17.) If 
he tries to get behind you he is blocked off by 
this position. By standing behind the base 
line, you can also see what you are doing and 
avoid much of the danger of being spiked. 
The base runner then has the path, and there 
is no reason for him to slide into you unless he 
deliberately intends to cut you down. 

In touching a man, put the ball onto him 



82 HOW TO PLAY BASEBALL 

quick, but be sure that you have a good hold 
on it because many a runner will attempt to 
knock it out of your hands. This whole play 
depends upon courage and speed. Do not let 
the base runner rattle you by threats. You 
will meet many men who will shout as they 
slide: "Get out of my way or I will cut you 
down!" 

If you belieye he really intends to nick you 
with his spikes, do not hesitate about putting 
the ball onto him hard, and a base runner has 
many vulnerable spots exposed when he is slid- 
ing in. That ought to scare him. In making 
this play, keep clear of the spikes by playing 
just back of the line. He cannot slide by in 
front of you out of reach, and he cannot then 
get behind you. 

When you have giyen the sign to the short- 
stop to take the throw, if you are the source of 
the signals, go behind second and back him up 
in case of a bad throw from the catcher or in 
case he misses the ball. He will be doing the 
same thing when you cover the bag. The sign, 
as I have said, should be simple. Suppose you 
pull up your right stocking when you want 
him to cover and your left when you intend to 
cover yourself. If you think the other team is 
getting on to your signs, switch them between 



SECOND BASE 83 

innings by a conference on the bench, but be 
sure they are understood by all hands. 

If an infield ball is not hit at the second 
baseman, he should back up the first sacker on 
throws from the other infielders, and he will 
save many extra bases by it in the course of the 
season. (111. No. 18.) Some men inclined to 
be lazy will go over behind the first baseman 
once or twice, and, finding that the throws are 
perfect or that the first baseman successfully 
stopped all those aimed at him, will abandon 
the practice as useless, and maybe the next one 
will get by and the runner reach third base. 

Second base is the pivot of most of the 
double plays made in a ball game. The second 
baseman takes part in nearly all of these plays. 
This is an important feature of his work. 
First, he must figure on the batter. Always 
remember who is at the plate for the other side 
if it is a team that you have played before and 
know the ability of the batters. When a fast 
man is at the plate and hits into a possible 
double play, you must hurry it to get him at 
first base. But when you know that the batter 
is a slow runner, do not make your play at 
second so fast that you risk a bad throw and 
lose both outs. Always make sure of the first 
play before you attempt the other. If the ball 



84 TIOW TO PLAY BASEBALL 

is hit to you, and you arc close to the bag, do 
not shoot it at the shortstop. lie is liable to 
miss it. Toss it. (111. No. 19.) Receiving a 
throw from the shortstop or third baseman for 
a double play, make sure that you touch the 
bag before you throw the ball to first base. 

In covering the bag when a man is attempt- 
ing to steal, the shortstop takes the throw quite 
as often as the second baseman. On this play 
it is optional who shall cover so long as it has 
been arranged previously by a signal. But on 
other hits, as a general thing, the shortstop cov- 
ers on all drives to left field so that the second 
baseman can back him up and be insurance 
against a possible wild throw. The second 
baseman covers on hits to right field and the 
shortstop backs up. This system is universally 
followed. The play of the second baseman is 
so closely connected with that of the shortstop 
that the two men should practice together con- 
tinually so as to become accustomed to the 
habits and mannerisms of each other. It is an 
invariable rule that whichever man is not cov- 
ering second base should back up the play. 

The second baseman covers first base on one 
play, to which I referred in the chapter on the 
first baseman — that is, when there are runners 
on first and second bases, and a bunt is ex- 



SECOND BASE 85 

pected. The first baseman then moves in to 
make the play to third, if possible, preparing 
to force out the runner on second there, and 
the second baseman takes his position down 
the base line about half way between first and 
second. On a bunt, he then covers the bag so 
that if it is too late to throw the ball to third, 
he is on first to receive the throw to retire the 
runner. 

I am not going to take up the double steal 
in this lesson, as it involves three or four play- 
ers and more properly comes under the subse- 
quent title of "Team Work." 

The second baseman plays deep except when 
there is a man on third base and the score close. 
Then he moves about ten feet inside the base 
line so he can make the play home. There is 
no time to be lost in trying to get a man at 
the plate on a ground hit to the second base- 
man. Drive the ball at the catcher so that it 
arrives about a foot above the ground and two 
or three feet down the base line toward third. 
Steady yourself if possible before making the 
throw because a wild one is bound to result in 
a run. 



VII 

SHORTSTOP 

THE work of a shortstop on a baseball 
team dovetails so closely with that of 
the second baseman it is almost im- 
possible to consider one without taking into 
account the duties of the other. Yet there are 
many qualities required of the shortstop which 
the second baseman can lack and still succeed. 

In the first place, the shortstop handles more 
chances than any of the other infielders, ac- 
cording to the figures. He averages about 
eight a game for the season in the Big Leagues, 
while the third baseman averages only about 
four or five. Both the shortstop and third 
baseman must be level headed and sure on 
signs. The shortstop should learn to get an 
answer when he gives a signal. That is a rule 
which applies to all players. He is as much 
a key to the infield as the second baseman, and 
he has as much covering of the middle bag 
to do. 

In naming the qualifications of a shortstop, 

8G 



SHORTSTOP 87 

there are three which stick out most promi- 
nently. He must be brainy, have a good arm, 
and be fast on his feet. A boy who lacks any 
of these should not try to mold himself into 
a shortstop unless he thinks he can develop 
them. 

Because of the absolutely necessary and ac- 
curate fielding qualities required of a short- 
stop, he does not have to be a great hitter. A 
fair batter can get away with it nowadays if 
he is fast enough in the field and on the bases. 
This strength offsets the batting weakness, and 
speed in a shortstop is more essential than hit- 
ting ability because he is the balance wheel of 
the infield and the steadier in the team work. 

The shortstop must work with the catcher 
and other infielders on signs. There are sev- 
eral things required of an advanced shortstop 
which would not be necessary in a man unless 
he were a minor leaguer with Big League 
ambitions. The Big League shortstop watches 
the signs of the catcher closely to discover what 
kind of a ball the pitcher intends to deliver, 
because a batter does not pull a fast ball like 
he does a curve. If the catcher signs for a 
fast ball, the shortstop should shift toward 
second base a few feet, but there is a mistake, 
which many men make about this shifting, that 



88 HOW TO PLAY BASEBALL 

is fatal to the success of the team. A hatter 
is more apt to drive a fast ball toward right 
field than left, and therefore the shortstop 
wants to he nearer second than third on the 
sign for this, hut he must not move hefore the 
t wirier starts to deliver the hall because if he 
does he will tip the hatter off. 

The shortstop should not start to move until 
the pitcher begins his motion. Then the batter 
cannot take his eyes off the twirler. He does 
not have to shift far, just a few feet, and he 
should be steady on his feet, ready to move 
either way by the time the ball reaches the 
hatter. There is a lot of skill in shifting clev- 
erly, and the shortstop must be careful not to 
tip off the other side by his movements. 

When in his natural position with no run- 
ners on the bases, the shortstop plays deep, 
almost at right angles to an imaginary line 
drawn from home plate over second base to 
center field. (111. No. 20.) His position is 
slightly nearer second base than third, but he 
has no set place, as he shifts according to con- 
ditions. The shortstop covers second base 
quite as often as the second baseman. It used 
to be that he took care of second on all throws, 
but that system is bad because then the runner 
knows from just where to expect the danger. 




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Illustration No. 22 — Baker of the Athletics covering third, ready to 

put a man out. The runner must pass in front of 

him. (lood form. 




Illustration No. 23 — The proper way to catch a fly ball. This man 
is planted directly under it ready to make the catch. 




Illustration No. 24 — "Artie" Hofraan, the Pittsburgh outfielder, 

jumping for a high one. Taking the ball with one hand 

should be done only when there is no chance to use two. 



SHORTSTOP 89 

A good shortstop must possess unlimited grit. 
He must take chances of getting hurt, more 
chances than any one else on the team with 
the possible exception of the catcher and third 
baseman. 

In covering second to get a man stealing, 
the shortstop should not start too soon. If he 
does, he leaves a big gap at his position through 
which the hitter can drive the ball. It is not 
possible for a man to wait until the catcher 
has the ball to start to cover the bag, because 
the ordinary shortstop cannot get there in time 
in this way, but I want to impress upon all my 
readers that the shortstop is not expected to 
run over and anchor himself on the bag as soon 
as he sees the man beginning to streak. He 
should cover on the run and bear in mind that 
the catcher is throwing at the bag and not at 
him. In covering, run over directly behind 
the base and put the ball on the man fast. That 
is the weakness of many basemen. They are 
slow about touching a runner. Do not be 
afraid to tag a man so that he knows he has 
been touched. Watch his slide, because he will 
try to get around you and hook the base. That 
is what I teach my players. Do not block him 
off with your body any more than you can help, 
but cover from the first base side of the bag — 



90 HOW TO PLAY BASEBALL 

that is, stand two or three feet down the line 
on that side of the base — and make the man 
go in front of you. Then you are not exposed 
to spikes as much and the runner cannot slip 
in behind you where it is impossible to see him. 
You can touch a man quicker if the play is 
directly in front of you. 

Don't be afraid of spikes, but do not take 
unnecessary risks. 

On the mechanical playing of the position of 
shortstop, there is little to be said. The player 
must be as proficient on ground balls as any 
of the other infielders and nimbler. He must 
take bigger chances of making errors for the 
reason that he gets harder balls to handle. He 
cannot afford to fumble for a second because 
the runner will then beat out his throw. He 
is much further from first base than the second 
sacker. 

The primary object of a shortstop is to cover 
as much ground as possible, and to accomplish 
this he should study batters. By watching 
your opponents hit, you can tell whether a 
certain man is inclined to drive the ball toward 
second or third, whether he naturally swings 
early or late at the ball. Prepare for this 
hitting inclination of a batter. Figure on his 
speed. If he is a very fast man, do not play 



SHORTSTOP 91 

so deep, because he will beat out a slow hit 
then even if you do your work perfectly. Play 
close to the ground and always be on your toes 
ready to take a start in any direction. 

With men on the bases, the duties of the 
shortstop become more arduous. If a runner 
reaches second base, worry him as much as pos- 
sible without leaving an opening for the batter 
to hit through you. Play behind him when he 
takes his lead, and run in to cover the bag every 
now and then so that the runner will be kept 
upon his toes. It is important that a man on 
second be held up, in order to prevent him 
scoring on a one-base hit if possible. 

You should have a set of signs arranged with 
the catcher which will tell you when the pitcher 
is going to whirl and throw to get a man too 
far off second. The catcher should have one 
signal for the shortstop to cover and another 
for the second baseman on this play. When 
you see the catcher give this signal, be sure to 
get to the bag because the pitcher is going to 
whirl and throw without looking, and it will 
give you a bad showing up if the ball goes to 
center field because there was no one on the 
base to receive it. The runner will naturally 
go along to third and perhaps home. There- 
fore, you must watch the catcher closely for 



92 HOW TO PLAY BASEBALL 

signals. It is one of your principal duties. If 
you think a runner is taking too big a lead 
with each pitch, slip the catcher a sign that 
you will cover after the pitcher delivers the 
next ball. Then dash for the bag when the 
pitcher delivers the ball, because the catcher 
will drive the ball at it, and you must be there. 
The shortstop must possess a good head 
since he has so many things to remember and 
so many signs for which to watch. With a 
man on third base and less than two out, move 
several feet inside the base line so you can 
make a play at the plate and cut off the run. 
Of course, if you should fumble and there is a 
man on first base, too, do not be discouraged 
and lose your head because you cannot make 
the play to the plate. Look and see if you have 
not time to catch the runner going to second. 
Alwaj^s try for a play somewhere. Do not 
give up because you have missed one. But 
never attempt useless throws. They are dan- 
gerous. Of course, the stages of the game and 
the situations make a vast difference as to how 
these plays are made. If there is one out, with 
men on first and third, many managers, as I 
said in discussing the second baseman, prefer 
to have their infield play back to try for a 
double play. I will go into this more cxhaus- 



SHORTSTOP 93 

tively when I begin to talk about team work. 

The shortstop has much backing up to do. 
He should back up the second baseman on all 
throws to second that he does not receive him- 
self, and he should help out the third baseman 
a good deal, too. The shortstop is frequently 
called upon to cover third. Suppose there is 
a man on second, and the third baseman must 
go in to get a slow hit. He makes the play to 
first and has not time to get back to his bag. 
The runner from second starts down, and the 
shortstop must cover or the other team has 
gained a base, and one base means the game 
oftener than you would think. 

The shortstop must be active. He must go 
after every ball that he thinks he can reach. 
Be careful about flies. Do not conflict with 
other players, for collisions are dangerous and 
have laid up many a good man. If you go 
after a high fly, shout: "I've got it!" 

You ought to get an answer from the other 
player who might possibly be pursuing it: 
"Go ahead! Take it!" 



VIII 

THIRD BASE 

IF I were to pick the hardest position on 
the ball club to play, I would name third 
base. There are three qualities abso- 
lutely essential to a good third baseman. He 
must be fast and game and have a good arm, 
the best of any man in the infield with the pos- 
sible exception of the shortstop. Both require 
great whips. 

Third base is the one position on a ball club 
where there are no easy chances. I played it 
myself for a good many years and I am in a 
position to say this positively. The ball is 
either hit at you like a shot, or it is a slow 
roller, and you have to hurry it to get the ball 
to first base in time to nail the runner. The 
third baseman must have an arm as good as a 
catcher to handle his job properly, and he 
needs to be an accurate thrower. When the 
third baseman goes back behind the bag for 
the ball, he has got to throw over-handed. Re- 
member that. He cannot heave the ball across 

94 



THIRD BASE 95 

the diamond fast enough from the under-hand 
swing to do any good. 

Because of the many necessary fielding 
qualifications in a man fit to be a first-class 
third baseman, a fair hitter can generally hold 
his job, although, oddly enough, some of the 
best batters in the country have been and are 
now third basemen. 

Again, in this position I like a rangy man, 
although there have been some very good short 
men who have covered third base. I am not 
tall myself. The rangy man has a better reach 
and can cover more ground and accept and 
get away with more hard chances than the 
shorter one. But if an attempt is made to 
place too big a man at third base, he is not so 
fast, as a rule, and, above all things, the good 
third baseman must be fast. 

Ordinarily, the third baseman should stand 
about ten feet inside the diamond from the bag 
and in front of the base line. Of course, the 
third baseman shifts about according to condi- 
tions, like any other infielder, but we are taking 
it for granted now that there is no runner on 
the bases and an ordinary hitter is at the plate. 
The third baseman must keep track of his bat- 
ters carefully because some fast men are al- 
ways trying to cross him and drop down a bunt 



96 IIOW TO PLAY BASEBALL 

when lie is not looking for it. We will come 
to the handling of bunts later along. The du- 
ties of a third baseman can be divided into 
three parts — fielding ordinary hits, playing 
bunts, and covering the bag. It is small won- 
der that it has been called the "busy corner." 

The third baseman gets all kinds of hard 
hits jammed at him. When he crosses over to 
his right to get a ball, he should not run back 
any further than necessary, because in this way 
he turns his back on first base and is all out 
of shape to throw. Cut over as squarely as you 
can to intercept the ball and steady yourself 
before throwing, if you have time. When you 
are away over behind the bag, you must drive 
the ball across the diamond over-handed or 
you cannot get enough into it to make it carry. 
(111. No. 21.) If a boy, trying to be a third 
baseman, encounters a certain kind of a ball to 
field which is particularly difficult for him, let 
him keep after just that one until he has over- 
come the weakness. Do not try to conceal it. 

Probably the hardest thing a third baseman 
has to do is handle bunts, because it is danger- 
ous work and requires great nerve. There are 
certain situations in every game when a batter 
is more liable to bunt than at other times. For 
instance, if a club needs one run badly, and 



THIRD BASE 97 

there is a man on first, with none out, the 
chances are that the batter is going to lay it 
down to advance that man and try to get the 
run across the plate. Then the third baseman 
should move about ten feet in toward the plate. 
Watch the bat of the hitter. If, as soon as the 
pitcher delivers the ball, the batter runs his 
hand down the stick, start in for the plate. 
Great speed is required in fielding a bunt, and 
when a fast man has laid the ball down there 
is no time to get set to throw. You must learn 
to let the ball drive unerringly from any po- 
sition, and if time presses you are frequently 
required to handle the ball with one hand. 

Arthur Devlin, formerly of the Giants, used 
to have a magnificent throw on this play. He 
would dash in and scoop the ball with his 
right hand when the play was close. Then, 
with a sort of jump and jerk of the arm, he 
would heave to first base with wonderful ac- 
curacy without losing a second of time. That 
is very advanced baseball, however. The great 
thing to do in handling bunts is to work fast. 

The only possible way in which you can be- 
come expert in handling bunts is to practice. 
Get some boy who desires to learn to bunt to 
lay the ball down for you to field. There are 
two things to remember in handling a bunt. 



98 HOW TO PLAY BASEBALL 

One is to field the ball cleanly, and the other 
is to get it away last and to watch your throw. 
Von cannot practice too much on the throw. 
Be careful not to conflict with the pitcher in 
handling bunts. The best scheme, I believe, 
and the one which I follow with my club, is to 
have the third baseman handle all the bunts he 
can reach and pass the rest along to the pitcher. 
If you see you can field a bunt, yell: "I've got 
it!" and go after it. 

Never claim a ball unless you are sure you 
are going to be able to make good and reach 
it in time. Make an arrangement with the 
pitcher that you will handle all bunts you can 
reach and will accept all which you claim. In 
this way you will keep him away from the ball 
and avoid the catastrophe which I have ob- 
served occur so often in minor league and ama- 
teur clubs. Two men will go after a bunt. 
Then both will stop, abruptly, thinking that 
the other player will take it, and the ball will 
twist down the base line unmolested — and 
there is a runner on first base. If a club sees 
that you cannot handle bunts, it will start to 
lay the ball down right away, and this sends a 
whole team in the air in a minute. 

Keep all bunts possible in foul ground. 
Batters try to lay the ball down the base line. 



THIRD BASE 99 

If you see the ball is going to roll foul, let it 
run along until it does and then clamp your 
hand down upon it and keep the ball out. 
There are two reasons for this. In handling 
a bunt, the percentage is all against you. In 
fielding a perfect bunt, if it is cleanly picked 
up against a fast runner, the throw should just 
beat him to the bag. But it is one of the hardest 
plays in the infield to make, and a wild throw 
from a bunt often breaks up a game. When a 
man makes a foul bunt, he has a strike called 
on him, and he is in the hole and will not try 
to lay it down again, as a rule. 

Fielding bunts requires great nerve because 
you can never tell when you will move in close, 
expecting a bunt, and the batter will cross you 
and hit the ball out. Do not let a batter catch 
you going in if you can help it, because he is 
liable to sing the ball past your head, and it 
does not always go by. Many a third baseman 
has been hurt when he was slipping in to field 
a bunt and the batter crossed him and stung 
the ball on the nose. It is close range on this 
play, you know. Do not start in further, after 
you have moved closer to the plate for a bunt 
before the pitcher delivers the ball, until you 
see the batter run his hand down the stick to 
bunt. Then you know he cannot very well 



100 HOW TO PLAY BASEBALL 

change his mind. This is just a second or two 
before he lays the ball down, but it gives you 
hint enough to get a start. 

Always be on your toes. Do not let the bat- 
ter catch you playing deep and lay down a 
bunt when you are not expecting it. He will 
make you look foolish if he does. Always be 
ready to start after a bunt and do not play too 
deep at any time. I would not advise a third 
baseman to take a position behind the base line 
at any time. 

In covering the position at third base, a man 
must be careful not to conflict with the short- 
stop on flies or ground balls. The rule I make 
on my club is to let the third baseman take all 
ground balls on his left side of which he is 
reasonably sure, because balls that both he and 
the shortstop can reach are usually slow-hit 
ones. If the third baseman cuts over in front 
of the shortstop he has a shorter throw to make 
to first and the ball has not traveled so far to 
a fielder as if the shortstop were to take it. In 
this way time has been saved, but do not cut 
over and steal chances from the shortstop when 
there is not a chance of handling them success- 
fully, and "ball" up a play that the shortstop 
might have made easily. 

I would give the shortstop all the infield 



THIRD BASE 101 

flies that he can handle, because a shortstop is 
generally supposed to be good on infield flies, 
and he has more room to take the ball in front 
of him than the third baseman. The majority 
of balls that both the third baseman and short- 
stop can catch are slightly behind the third 
baseman, who is playing in close, whereas the 
shortstop lies deep. I would make it a rule, 
if I were you, that any time the shortstop 
yells, "I've got it" he is to go after the ball, it 
being taken for granted that he has a better 
chance of catching it than you have. You will 
have plenty of foul flies to pursue, yourself, 
on the other side of third base. Let the short- 
stop go out into left field after them. The 
trick of getting a foul fly is in the start. Go 
after it as soon as you see the ball hit, and you 
will surprise yourself at the large number you 
can pick off at a great distance. If the sun 
blinds you, put up your glove to shade your 
eyes. In going after a high foul fly do not 
turn around any more than necessary, because 
it will get you all twisted up and confuse you 
so it will make the ball very difficult to catch. 
Always make things as sure as you can and 
never try to pull off plays purposely to draw 
applause from the grandstand unless there is 
no surer way to do it. Such grandstanding 



102 HOW TO PLAY BASEBALL 

does not appeal to the wise manager. Bear 
that in mind. 

The third baseman should watch the infield 
signals passed out by either the shortstop or 
second baseman, because he needs to know 
who is going to cover the bag when an attempt 
to steal is expected from a base-runner. If 
the shortstop is to cover, the third baseman 
should move over slightly to plug up the hole 
that will be left in the infield by these other 
duties of the shortstop. But do not make this 
shift too evident or it may tip off the other 
team to what you expect. Never let your op- 
ponents see your hand. 

The worst hole in which the third baseman 
will find himself is with a man on second base. 
The batter is liable to bunt or hit, or the run- 
ner may try to steal in this situation. The 
third baseman of ability must keep in close 
touch with the stages of the game. If the 
score is close and one run is sorely needed, the 
batter may bunt with a man on second. The 
runner may try to steal if the other team is 
daring. The third baseman must be ready to 
cover the bag or field a bunt. My way is to 
have the man move in slightly with the pitch, 
but not so far that he cannot get back to cover 
the bag in case the runner steals. 



THIRD BASE 103 

There is a great knack in learning to touch 
a runner coming into third base when there is 
to be a play made there. Place yourself 
so he has to go in front of you to the bag. 
(111. No. 22.) Then you can get him coming 
into the bag from any direction before he 
touches it. It is a dangerous position, because 
a runner will make desperate efforts to get into 
third, since he is then very close to scoring a 
run. Give him the base line, but put yourself 
in a position so he cannot slide behind you and 
you cannot miss him coming into the bag. 

Cover your bag on all plays when there is 
the possibility of an out at third base — that is, 
of course, if the ball is not hit at you. Do not 
let any base-runners get away from you, but 
do not block them altogether, as you are al- 
most sure to get cut in this way. In case of 
a long hit that threatens to be a home run, 
stand on the inside corner of the bag so as to 
make the runner go around you. You are 
then within your rights, and the extra steps 
he takes may avert a home run. 

In taking your position, always play about 
on the line between first and third unless you 
expect a bunt, and then move in before the 
pitcher delivers the ball. You must also move 
up slightly when there is a man on third and 



104 HOW TO PLAY BASEBALL 

the play may be at the plate to cut off a run. 
But do not move in as much as the shortstop, 
second and first basemen do, because they have 
been playing deep and you have not. Then it 
is your job to worry the base-runner by 
slipping over to the bag occasionally and bring- 
ing him back. Do not let him take too big a 
lead on a critical play, and have a sign ar- 
ranged with the catcher so you can ask for a 
throw in case you think the runner is going 
down too far each time the pitcher delivers the 
ball. You must hold the runner up to the bag. 
I am not going into the intricacies of third 
base play when the double steal is discussed. I 
shall take up the double steal — that is, with 
runners on first and third bases — under the 
head of "Team Work." But I shall say here 
that the third baseman plays one of the leading 
parts in breaking it up. His duty is to stick 
close by his bag, because one of the best ways 
of stopping a double steal is to have the third 
baseman cover the bag and instruct the catcher 
to hurl the ball to third instead of second, after 
making a bluff throw at second to draw the 
runner off third, who has been led to believe 
the catcher will really throw to second. Many 
Big Leaguers are caught by this trick, and it 
should be very effectual in the minor leagues 




Illustration No. 25 — Great form and style to copy. "Eddie 3 
Collins of the Athletics, a light man, meeting one with all 
the power of his body and arms. The ball goes from 
his bat like a bullet from a rine. 




Illustration No. 26 — "Willie*' Keeler, the king of hunters, laying one 

down. Notice the position of his hands carefully. The ball 

is high and ordinarily hard to bunt, except for the 

grc.it masters of the trick. 




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tcr 3 

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THIRD BASE 105 

and amateur games. The third baseman must 
surely be on the bag when the catcher pegs the 
ball. The runner will be caught too far away 
and going in the wrong direction four times 
out of five. 

The third baseman should be careful of his 
hands and not take any more chances than are 
necessary. Catch the ball flat-handed. There 
is no reason for receiving broken and dis- 
jointed fingers when the hands are held right. 
The ball should hit the palms. 

There is one thing against which I want to 
warn all inflelders, and it is a common fault 
that I meant to speak of before. Do not field 
the ball with one knee down on the ground. 
You will never be a great player doing this 
any more than you can be a good batter hitting 
cross-handed. If the ball slips through your 
hands, it will hit your knee and bounce away 
too far to recover, nine times out of ten. 
Again, you are all out of position to throw if 
you do pick up the ball cleanly. This is very 
bad form and should never be attempted. 



IX 



THE OUTFIELD 



THERE is so little difference in the du- 
ties of the various outfielders that I 
shall include the three positions in one 
lesson. It is generally considered among Big 
League managers that the fastest man and sur- 
est fielder is able to do the best work in center- 
field, since he can go further to get a ball. The 
outfielder should be speedy, because then he 
can cover more ground. Size makes little dif- 
ference, but speed is a necessity. 

The first thing an outfielder must learn is 
to know the opposing batters. The big prob- 
lem in the outfield is to cover ground, and it 
is by knowing the peculiarities of the various 
batters and realizing in which way they arc 
most liable to hit that the outfielders can shift 
around to the most likely spots. 

On a team of any standing the outfielder', 
must compose much of the hitting strength of 
the club. Big League managers have discov- 

106 



THE OUTFIELD 107 

ered that almost anybody can be turned into 
a good fielder if he can hit. 

An outfielder must be sure on a fly ball. 
This can be accomplished only through prac- 
tice supplemented by some tips which I am 
now going to give. I would advise all young 
players to try to catch the ball wjith their 
hands above the waist-line instead of below, 
whenever possible. (111. No. 23.) I mean 
the ball comes in the little-finger side of your 
hands instead of the thumb side, as it will if 
you take the ball below your waist-line. 
Watch some of the great outfielders if you 
ever get a chance, and you will notice that 
most of them take the ball as I suggest when 
they have time to get under it. This style 
makes the catch surer. Of course, if the 
chance is a difficult one, you must take the 
ball any way you can grab it. 

The next thing for an outfielder to learn is 
to judge a fly. This is one trick which can 
be accomplished only through strict and hard 
practice. It must become second nature to the 
good outfielder. He must be able to decide 
how far the ball is going the minute he gets 
his eye on it after the batter has hit it, and start 
for it. He should be able to judge it by the 
angle and speed. If it is an easy chance, get 



108 HOW TO PLAY BASEBALL 

under it and be set for it when the ball comes 
down. The outfield is a great place to try to 
make grandstand plays, but never do it unless 
you cannot help it, because grandstand plays 
are not so sure as straight ones. (111. No. 24.) 

Always follow the ball and take it from the 
position which is surest. If the hit is over your 
head, turn and run with the ball and then 
glance over your shoulder. You will see many 
outfielders back up on a ball over their heads, 
but this is bad form, as you are all off your 
balance and cannot get back so fast as when 
you turn and run with the hit. When you 
think you are back as far as the ball is going, 
whirl again and set yourself for the catch. 
In the preliminary practice before a game, size 
up the wind and observe how it influences fly 
balls. Also watch out for a "high sky." It 
makes a ball hard to judge. 

There is one thing all outfielders should re- 
member, and that is never to hold the ball 
after they have once got hold of it. It must 
be thrown somewhere, because a ball held in 
the outfield does not do any good. There is 
no place in the outfield where you can get a 
runner out. Therefore, get the ball inside the 
diamond. Be sure to keep in close touch with 
the game always. Before each man goes to 



THE OUTFIELD 109 

the plate, figure it over in your mind where 
you will throw the ball if he hits to you. Keep 
in front of you the number of runners on the 
bases and whip the ball to the most important 
place just as soon as you catch it. If there is 
no one on the bases and the batter makes a 
single, hurl the ball to second base, quickly, 
because the runner is liable to slip up another 
base on you if you are not careful. 

Good outfielders need good arms. A man 
with a weak wing should never try to cover 
one of the garden positions, because there are 
so many long throws to make. A weak arm 
means that every time the batter puts up a fly 
with a runner on third base, no matter how 
short it mav be, that run will score. In throw- 
ing to the plate, if you are at all deep, drive 
the ball on a line and let the catcher take it on 
the first bound. If you try to make it carry on 
the fly, the parabola will be so great that the 
runner will beat the ball easily. On a clean 
single, with none on the bases, the outfielder 
should never throw to first base, because there 
is no chance of catching the runner at that 
point unless he should slip or fall, or some such 
unexpected thing occur. A wild throw to 
first means an extra base for the runner. 
Throw to second on a clean single. 



110 HOW TO PLAY BASEBALL 

The next thing against which I want to 
warn an outfielder is over-reaching himself. If 
there is a short line hit, and you do not think 
you can reach the ball on the fly, take it on 
the bounce and make it sure. Then the hitter 
gets only one base. If you dasli in and try to 
take the ball on the fly, the chances are you 
will get it on the pick-up, it will go through 
you, and instead of one base the man will make 
two or three. The outfielder should always 
be busy backing up the infielders whenever 
possible. The center fielder is supposed to 
back up second base on all throws. 

The outfielder must not be afraid to make 
a lot of noise. If he goes after a ball and he 
thinks he is in the territory of either of the 
other two fielders, he should yell, in loud tones : 
"I've got it!" 

I have seen many good men laid up for 
months through collisions with other outfield- 
ers because they did not yell. 

Conflicts over fly balls have lost many games 
and cost many players. Outfielders should al- 
ways back up one another, however. This is 
very important. If you are the center fielder 
and there is a hit to right field, which the right 
fielder claims, go behind him and back him up 
so that if he loses the ball it will not roll to 



THE OUTFIELD 111 

the fence. You cannot afford to get lazy on 
this. Outfielders should always back up the in- 
fielders, too, whenever possible. Conscientious 
backing up is almost half of the team play 
of baseball. The left fielder should run in be- 
hind the third baseman on all throws, and the 
right fielder should ease over toward first on 
all throws. Many times you will make the 
journey in vain, but there will come an occa- 
sion when you back up and it saves a game. 

The good outfielder must be sure on ground 
balls, because a hit through him means an extra 
base or two always. He should not play 
ground balls in exactly the same way that an 
infielder does, since he must be surer of 
stopping them, and the outfield ground is gen- 
erally rougher than that of the infield. He 
should get as much of his body in front of the 
ball as possible and be certain of blocking it. 

Many youngsters are nervous when the ball 
is hit high in the air at them because they have 
so much time to contemplate the consequences 
of dropping it when the crowd is shouting and 
endeavoring to rattle them. That can be 
remedied by keeping the eye on the ball and 
forgetting everything else. Good outfielders 
learn to do this, and they ignore the cheering 
entirely. Never banter with the crowd, as 



112 HOW TO PLAY BASEBALL 

that is dangerous and takes your mind off the 
game. The great thing to do is to keep your 
mind strictly on the contest. 

Outfielders should learn to line themselves 
up for a relay on a long hit. The one nearest 
the ball should chase it, and sometimes, if it is 
an extensive wallop, it is necessary to throw it 
to a second outfielder before it can be passed 
to the infielder, who runs outside the diamond 
to receive the ball and throw it along to where 
it will do the most good. Let the man with the 
best whip of the other two who have not pur- 
sued the ball relay it in. Generally, there is 
one man in an outfield who has the best arm 
of the three. An outfielder should devote a 
good deal of time in practicing shooting the 
ball to the plate, because this has to be done 
frequently on sacrifice flies and saves plenty 
of runs. 

When you catch a fly, take the ball, if you 
have plenty of time, in the position you can get 
a throw away most quickly. For instance, if 
you are a right-handed player, take it on your 
right side and drive it to the plate. On Big 
League clubs, many outfielders shift accord- 
ing to a sign passed them by either the second 
baseman or shortstop, indicating what sort of 
a ball the pitcher will throw. On an amateur 



THE OUTFIELD 113 

team this complicates matters, to my mind. 
Great care must be exercised in the shift be- 
cause, if the men move too soon, they will tip 
off the batter to what ball the pitcher intends 
to throw. You cannot start to shift until after 
the pitcher has begun his motion, and you must 
be on your balance again by the time the ball 
reaches the batter. My advice to young play- 
ers is to study the batters closely if you are 
playing against the same clubs all the time and 
shift to suit their styles. If you see a man hits 
naturally toward right field when he comes to 
the plate a couple of times, let all the outfield- 
ers move around that way slightly on his next 
appearance. You can often tell by the way 
in which a man swings at the ball where he 
naturally hits. If he brings his bat around 
late, he will hit to right field. Or if he picks a 
ball on the outside of the plate, he will natur- 
ally jam it to right field. 

My closing advice to outfielders is, be on 
your toes every time the pitcher delivers the 
ball, with your hands on your knees, I would 
suggest, so as to be ready to move in any di- 
rection. 



X 

BATTING 

BATTING is a matter of self-confidence 
and a good eye. Give me a batter, 
and I will make a ball player out of 
him. The most difficult thing in baseball to 
teach a young ball player is how to hit. Al- 
ways bear in mind in learning to bat that what 
you think you can do is what you generally ac- 
complish. 

It has been frequently asserted by baseball 
authorities that a batter cannot be made — that 
it is a natural gift, like writing poetry. 1 do 
not contend that instruction will make a bat- 
ter out of any ball player, but I do say that 
many men develop into good hitters when 
minor faults are corrected because they have 
the eye and the nerve, the two batting essen- 
tials. 

The worst fault of most amateur ball play- 
ers in batting is a tendency to step away from 
the plate. Until this shrinking habit is over- 

114 



BATTING 115 

come a ball player has no chance of becoming 
a good hitter. Stepping back is a cardinal sin 
in baseball, and any man who does it would 
look foolish against an experienced pitcher, be- 
cause by keeping the ball on the outside of the 
plate he could prevent the back-stepping bat- 
ter from connecting with it indefinitely. That 
is where nerve shows in batting. A man must 
not be afraid to stand up to the plate. 

The first thing that a batter wants to learn 
is to follow the ball with the eye from the time 
it leaves the pitcher's hand. Remember that 
there is always plenty of time to dodge, and 
there is no necessity for stepping back if the 
ball appears to be coming at your head when 
the pitcher delivers it. Most pitched balls can 
be ducked with a slight movement of the body 
without stepping out of your tracks. This can 
be accomplished after the ball has almost 
reached you. As soon as you step back, you 
have lost your chance to hit the ball. 

In hitting, much depends upon form. The 
best style is to "choke" the bat up short and 
use a chop swing. Few men have been great 
hitters who attempt to take a free swing at the 
ball. (111. No, 25.) 

After grabbing the bat about six inches 
down from the handle end, take your position 



116 HOW TO PLAY BASEBALL 

in the batter's box about a foot behind the 
home-plate so that you have your opportunity 

to step up and get a curve ball after it breaks. 
Some batters attempt to run up out of the box 
and hit at a curve before it breaks. Bresnahan, 
formerly a Giant, frequently attempted this, 
thinking it would worry a pitcher, and he was 
very successful in developing this form, but 
I would advise against it. The umpire, if he 
is particular, will stop you running out of the 
batter's box, anyway. You should step 
straight ahead with a snap swing, getting the 
body into the blow with the step. In holding 
the bat, keep the hands not more than two or 
three inches apart, except when you are bunt- 
ing. Stand about six inches back from the 
plate when waiting for the pitch, so you can 
step up a little. Do not crowd the plate. 

Now, to overcome the most serious fault of 
all — stepping back — if you have it. As you 
stand in the box before the ball is delivered, 
let some one draw a line from your back heel 
parallel to the plate, toward the pitcher's box. 
Then practice keeping your front foot on the 
plate side of this line when you step. At first, 
to get the muscular motions correctly, you 
might try this without anybody pitching to 
you. It will be easy then because the reason 



BATTING 117 

a batter steps back is his fear of getting hit 
with a pitched ball. 

After your body has become accustomed to 
making the correct motions, let somebody pitch 
to you. If you are still inclined to step back, 
ask the pitcher to aim the ball at your head, 
and you will find that it is very easy to duck a 
ball coming at your head without moving out 
of your tracks. Just pull your head back. 

Now, the head is practically the only tender 
spot on a batter. You can get hit with a 
pitched ball in the body and it will not do much 
damage. A batter must not be timid. You 
will get hurt much worse by running away 
than if you stay up to the plate, because in 
ducking back you lose sight of the ball and are 
liable to get hit in the stomach or some other 
soft spot, whereas, if you stand up in your 
batting position there is no vulnerable portion 
of the anatomy exposed. Always remember 
that if you are nicked by a pitched ball it is 
not going to kill you. And do not be afraid 
of speed. A fast one hurts less than a slow 
ball. If you see that the ball is going to hit 
you, just tighten up your muscles and take it. 
A fast ball glances off. A slow ball sinks in. 
Take a few pitched balls in the ribs and you 
will get over being afraid of them when you 



118 HOW TO PLAY BASEBALL 

find they don't hurt much. Then you are on 
a fair way to become a good hitter. Baseball 
is not a game for mollycoddles. 

To become a batter, I would not advise a 
boy or young man changing his natural form. 
By this I mean that if he is a right-handed 
batter he should not attempt to swing around 
to the other side of the plate and hit left- 
handed. Many coachers of schoolboys will 
try to convert a natural right-handed hitter 
into a left-handed batter because they argue it 
does not take him so long to reach first base. 
That, of course, is true, but the gain to a left- 
hander is not more than a step at best, and a 
complete shift in form is not worth the differ- 
ence. Batters more often beat out hits be- 
cause they get a quick start from the plate 
rather than because they are left-handed hit- 
ters. 

There is another thing against which I want 
to warn all younff batters. Some boys will 
swing cross-handed. By this I mean that 
right-handed hitter will put his left hand on 
top of the right in holding a bat, or vice versa. 
No player was ever successful in hitting this 
way because the awkward position of the hands 
prevents a man from swinging accurately at 
the ball and results in a clumsiness of form 



BATTING 119 

that prevents good hitting. To correct this 
habit, if any boy has it, let him swing around 
to the other side of the plate and try hitting 
left-handed, still keeping the left hand on top, 
of course. This cross-handed fault is more 
prevalent in right-handed hitters than left, I 
have found. At first this batting left-handed 
will seem clumsy, but, with practice, should 
get results. If he is not successful in thus 
reversing his position, he should return to the 
right-handed form, but keep the right hand 
on top of the left in holding the bat. That is 
essential. 

There has been a general effort among Big 
League managers recently to develop scien- 
tific hitters. I instruct all my recruits to bat 
scientifically, that is, with the "choked" bat 
and snap swing. Remember that you do not 
have to knock the cover off the ball to drive it. 
If you just meet the ball with your body be- 
hind the blow you will find that you get satis- 
factory results. Hold the bat, while waiting 
for the pitch, in front of you and as high as 
possible without being unnatural. Always hit 
down on the ball. In this way you will get 
line drives or ground hits, which are far more 
valuable than flies. By hitting on top of the 
ball you are more likely to have a high batting 



120 HOW TO PLAY BASEBALL 

average and less likely to hit into a double 
play. 

Now I come to an important feature of bat- 
ting. Every player should learn to pick out 
good balls. Never hit at a bad one because, 
in this way, you are giving the pitcher an ad- 
vantage, and every time you come to the bat it 
is a contest of wits between the pitcher and 
you. Good batters do not let the pitcher get 
them into the hole — that is, with more strikes 
than balls — by hitting at everything that he 
throws them. When j r ou make a pitcher work 
to the limit every time you bat you are not 
only helping yourself but your club. If a 
twirler finds that a small man will offer at a 
ball off the outside of the plate, he will keep 
them there and the batter will never get a hit. 
A small man cannot reach a ball on the outside 
of the plate. Therefore, it is very important 
that a batter become a good judge of a strike, 
and this knowledge can only be obtained by 
practice and self-confidence. The short hold 
will help you in this, because you can stop 
your swing before the bat crosses the plate if 
you see the ball breaking out of reach, and a 
strike will not be called on you. 

In scientific batting, a man should learn to 
"hit behind the runner," as Big Leaguers call 




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Illustration No. 30 — "Johnny" Evor.s, manager of the Cubs, at 

the finish of his swing. As a ball player, Evors is one 

of the craftiest the game ever produced. 



BATTING 121 

it. By this, I mean that if there is a run- 
ner on first base, the batter should try to hit 
toward right field. It is easy to explain the 
reason. If he smashes the ball at the shortstop 
or third baseman, he will probably hit into a 
double play, forcing the runner at second base ; 
but if he drives it to right field, the runner 
should reach third base, and, even if he hit to 
the first baseman, the chances are much better 
for the runner reaching second than if he hits 
to the shortstop or third base. With a man on 
first, even if the batter makes a clean single to 
left field, the runner will probably get no fur- 
ther than second base. 

After getting so you can pick out a strike, 
you must learn what kind of a ball you will 
drive to right or left field as the occasion may 
demand. For instance, a right-handed batter 
would not pick out a ball on the inside of the 
plate if he wanted to hit to right field. He 
can very easily drive a ball on the outside to 
right field. It is practically impossible to hit 
an inside ball to right because you would have 
to push it with the handle of the bat. A good 
batter should learn to hit one kind of a ball as 
easily as another. That is, he should not de- 
velop a "groove." 

The next feature of batting that I want to 



122 HOW TO PLAY BASEBALL 

take up is bunting. No man was ever a good 
ball player who could not hunt the ball. This 
requires much practice and is not dependent 
upon natural ability. First of all, in bunting, 
learn to pick out good balls. It is impossible 
to lay a bad ball down, and if the pitcher sus- 
pects you are going to bunt, he will keep the 
ball high, as the low ball is preferable for bunt- 
ing. Therefore, be careful not to telegraph or 
give any indication that you intend to lay it 
down. Hold your bat as you would if you 
were going to hit the ball out until the pitcher 
has delivered it. Just as he lets go of the ball, 
run your right hand, if you are a right-handed 
batter, about half-way down the bat and hold 
the stick loosely so as to deaden the bunting 
of the ball. Get your bat out in front of you. 
(111. No. 26.) 

In all, the bat should not be moved more 
than eight inches in bunting. Remember that 
it is all done out in front. Do not hold your 
bat behind the line of your body, because if 
you do the ball will not drop down dead, but 
a short fly is liable to result. The whole secret 
of bunting is dropping the bat on the ball 
while the stick is held loosely. 

Do not bunt the ball straight at the pitcher, 



BATTING 123 

but turn it either toward first or third bases. 
This can easily be accomplished by holding the 
bat at an angle and will come with practice. 
An advantage of getting the bat a foot or two 
in front of the plate is that you have a better 
chance of bunting the ball fair and along the 
base line. You are then inside the diamond 
when you bunt it rather than outside, which 
you would be if you held the bat back of the 
plate. 

As soon as you bunt the ball, get away to 
first base. The secret of beating out bunts is 
in the runner's start. But do not misunder- 
stand me. Many young ball players will be 
so anxious to break away from the plate in a 
hurry that they will mess up their bunt as a 
result of this eagerness. First, make sure that 
you have laid the ball down, and then get your 
start. Recently, in the Big League, the bunt 
has been used to sacrifice a runner around the 
bases, and the primary purpose of that is to 
advance a runner and not get the batter on 
first base. Always remember this when you 
bunt the ball, and make sure that you have laid 
it down so that the runner can advance, for- 
getting all about yourself until that part of 



124 HOW TO PLAY BASEBALL 

the job is done. Then do your best to beat 
it out. 

The batter should, above all things, make 
the bunt unexpected. After a ball player has 
learned the fine points of hitting, he will find 
that he can start to bunt and then hit the ball 
out, if he sees a third baseman coming in, by a 
quick snap swing. That is one of the advan- 
tages of this "choked" style which I recom- 
mend. A man who takes a long swing at the 
ball could not do this. 

In conclusion, I want to emphasize the fact 
that, to be a successful batter, a boy should 
develop his eye and his courage. Never run 
away from a pitched ball. Always show 
nerve. If the pitcher has the count, two 
strikes and one ball against you, do not make 
up your mind you are going to swing at the 
next ball for fear of its being called the third 
strike. The chances are the pitcher will try 
to get you to swing at a bad one because he 
has you in a hole. Look it over carefully be- 
fore you hit at it, and keep out of the hole. 
As I have said, learn to bat to the different 
fields, using judgment according to the situa- 
tion. Employ a natural style, if it has none 
of the glaring faults I have mentioned, but 



BATTING 125 

develop the "choke" hold on the bat and the 
chop swing. Step square out and a little 
bit toward the plate and into the ball. The 
step is an important thing, and remember 
that self-confidence is the big asset in bat- 
ting. 



XI 

BASE RUNNING 

SPEED does not necessarily make a base 
runner. Many sprinters who have 
climbed to the Big League have been 
poor base runners until drilled in the art. Fast 
men, however, have a big advantage over the 
slower ones, because they can let out between 
the bases ; but, if you are not a ten-second per- 
former, do not become discouraged and feel 
you cannot learn any of the tricks of running 
the bags. 

Base running is one of the important fea- 
tures of playing the game right, because it is 
through clever work on the paths that the tal- 
lies are scored, and, if a man is going to be 
so thick-skulled every time he gets a life t; 
he will be put out, it is no advantage for his 
team to get him on the bags. lie will only 
block them anyway, then. The essentials of 
base running are speed between the bags, a 
quick start, a good slide coming in, and brains. 

There are several rules which every player 

126 



BASE RUNNING 127 

should follow when he arrives on the bases. 
The first and most important is that he is 
never out until he is touched by the ball. 
Many players who get up as high as the Big 
Leagues seem to forget this, and readily sur- 
render when their death appears to be prob- 
able. I fine a man on my club who does that 
kind of work. The base runner must always 
bear in mind the situation at hand, or the 
"stage." It is imperative that he keep track 
of the score, the number of outs, the count on 
the batter, the other men on the bases, if any, 
and various details. The score makes a big 
difference, and his actions are largely influ- 
enced by it. There are certain times when 
he would take a long chance, and other occa- 
sions when it pays to be conservative. I be- 
lieve poor base running loses more ball games 
than any other one thing, but the reason so 
little is heard of it is because poor base run- 
ning is not as apparent to the spectator as bad 
fielding and batting. More men on my club 
are fined for poor base running than for any 
other kind of "bulls." I do not find fault 
with a man for a mechanical fielding error, 
but, if he loafs on a hit that should go for two 
bases, and takes only one on it, he will find 
himself fined. Such mistakes as this break 



128 HOW TO PLAY BASEBALL 

up ball games. A poor runner on the bases 
who does not know when to take a chance and 
will try to steal whenever the spirit prompts 
him will lose the game for you any time if 
you don't watch him closely. Many things 
must be taken into consideration in running 
the bases. First of all, the pitcher is the key 
to the situation when a stolen base is planned. 
Pitchers are responsible for almost as many 
stolen bases as the catchers. The catcher must 
also be taken into the equation, however. 

Of course, every player should endeavor to 
develop speed. Next, he must learn the hook 
slide — to my mind the most valuable asset of 
any base runner. This consists in hooking the 
bag with one leg and throwing the body away 
from the baseman covering it. It gives him 
the smallest possible surface to touch, and in- 
creases the chances of stealing the base. Only 
practice will get you that hook slide. With 
this almost any ball player will find he will 
rank high among the best base runners on 
his team. It is surprising how often it gets 
a man into the bag safe after the baseman is 
waiting for him with the ball. (111. No. 27.) 

In stealing second, watch the baseman and 
not the ball, because, if you try to turn to see 
where the ball is coming in, you are going to 



BASE RUNNING 129 

lose speed, and a step or two counts a whole 
lot in stealing second. By watching the man 
who is going to cover, you can figure out 
where the ball is coming from, and throw your 
body away from it, so as to make it harder for 
him to put it on you. Slide around him if 
he tries to block you off the bag; assert your 
rights by sliding in with your spikes showing, 
but never put the steel to a man on purpose 
for the sake of putting him out of the game 
when there is no excuse for it. 

My suggestion for learning the hook slide 
is for a crowd of boys to put a bag in a sand 
box and practice running at full speed and 
sliding into this, just hooking the bag with 
your toe. Be careful not to overslide the bag, 
because then you are out sure. I would advise 
all boys to slide feet first, since there is less 
danger of hurting some vital part that way, 
and you can command more respect from the 
baseman. Only a few Big Leaguers use the 
head-first slide nowadays. (111. No. 28.) 

Base runners must learn to watch and obey 
their coachers. That is the secret of good 
base running, and the coachers selected have 
got to be clever men. As a general rule, I 
believe it advisable for a team to select two 
or three men who appear to be the most com- 



130 HOW TO PLAY BASEBALL 

petent in this line for the regular coachers 
to advise the base runners. When things are 
not so important other players can go out on 
the lines and try their hands at coaching, so 
that they may learn the ropes. When a man 
is coaching he gets a look at the whole game, 
and this experience is valuable, because it will 
help him in his base running. Frequently the 
crowd will make so much noise after the ball 
is hit it is impossible to hear the coachers 1 
voices. It is necessary, therefore, for them 
to depend largely on motions. If you see a 
coacher waving to you to come on, do not hesi- 
tate to obey, because he is supposed to be in 
a position to exercise better judgment than 
you, and he will be to blame if you are caught. 
Never run into a block sign given by a coacher. 
It is easy for a coacher to stop a man on any 
base by holding up the hand like a traffic cop 
when he halts a string of vehicles. If the 
coacher wants you to go back, he will wave his 
hands toward you, while he will beckon if he 
thinks you should continue. These signals are 
easy to grasp. They are not hidden, and the 
intent is evident on the face of them. 

Let us take a specific case. If you are on 
first base and the hatter makes a hit, of course 
you must go to second — we are taking it for 



BASE RUNNING 131 

granted that the word hit means a safe one. 
Do not look anywhere until just before you 
reach second base. Then glance toward the 
coacher at third. If he is beckoning to you 
to come on, take the turn without breaking 
your stride, and swing away toward third at 
top speed without having slowed up. As you 
approach third glance at the coacher again. 
If he is pushing his hands down toward the 
ground you know he means that there is going 
to be a play at the bag, and you have got to 
slide. Look at the baseman to see how he is 
playing, and "hit the dirt" so as to make it 
as difficult as possible for him to tag you. Of 
course, the coacher will use his voice, too, but 
the shouted instructions should always be sup- 
plemented with signals. 

As you approach the base you may be able 
to hear him yell, "Slide! Slide!" But, by 
looking at his motions, you can surely tell 
what he means for you to do. The coacher 
must be careful not to tell a man to slide un- 
less he has to in order to get the base. Every 
time a ball player "hits the dirt" he takes a 
chance on a sprained ankle, or twisted knee, 
or some other injury that may put him out of 
the game for some time. Therefore, it is the 
coacher's duty to save the men as much as 



182 HOW TO PLAY BASEBALL 

possible, and not order any one to slide when 
he can just as well eome into the base standing 
up. 

The great thing in stealing a base is the 
start, or "jump." Whenever you get to first 
on a safe hit, always take your turn, because 
you can never tell when some one is going to 
mishandle the ball and you will be able to 
move up one more base on the fumble or 
throw. An extra base very often means the 
victory in a game of ball, especially the differ- 
ence between first and second, because a hit 
scores a man on second, while it carries a run- 
ner on first generally only to second, sometimes 
to third. Therefore, never fail to take the 
turn. 

Get your lead as soon as you reach first base. 
Study the pitcher closely. On some twirlers 
you can take a bigger lead than on others, ac- 
cording to a pitcher's style of delivery 
and preliminary motions. Always be up on 
your toes, ready to get back to the bag. One 
thing about which you should be careful is not 
to let the pitcher get you going the wrong way 
— that is, with your weight toward second, so 
you cannot scramble back. You are almost 
sure to be caught flat-footed then. If you are 
playing against the same clubs continually you 



BASE RUNNING 133 

should be able to figure out exactly how big a 
lead you can take on each pitcher. The thing 
is figured down so fine in the majors that a 
pitcher can tell just how much each player 
can take on him. Some can take more than 
others. If he notices the man a little farther 
away than the stipulated distance, then he can 
get him. The reason some pitchers can hold 
men closer to the bag than others is because of 
a sort of half -balk motion which they develop. 
It is a balk, according to the rules, if the 
pitcher faces the plate and makes a motion 
toward the batter and then throws to first. 
The base runner can leave the bag just as soon 
as the twirler begins his delivery, but some 
twirlers have a habit of hunching their pitch- 
ing shoulder, as if to deliver the ball to the 
batter, and then throwing to first. Watch out 
for such tricks. The pitcher will often throw 
to the bag, when he does not expect to get 
you, but simply to hold you close — that is, 
he will if he is a good pitcher. 

By clever leading the smart base runner can 
outguess the catcher and make him think he 
is going to try to steal. In this way he in- 
duces the receiver to order pitchouts, which 
means that the twirler wastes a couple of balls. 
Then the batter has him in the hole, and he 



134 HOW TO PLAY BASEBALL 

must lay the ball over the plate. When the 
pitcher is forced to put the hall over the plate 
you have a better chance of making second 
than when he can afford to waste one. Under 
the latter circumstances the catcher receives 
the ball in a perfect position to throw, and 
can get it away much quicker. Jockeying is 
also essential to the successful working of the 
hit-and-run play, as I showed in my article 
on team work. When you finally make up 
your mind to go, edge a little farther off the 
base than heretofore, and dig with the first 
hint of a motion toward the batter. Don't go 
unless you have the "jump." 

If players display inclinations to steal at 
the wrong time the captain or manager of a 
club should arrange a sign to tell each man 
when to go. Nothing will disturb the equi- 
librium of a ball game like a man running 
down on you at the wrong stage. I retain 
absolute control of my men. Every time one 
of the Giants tries to steal a base he does it 
at my direct orders. 

There are many fancy angles to base run- 
ning, but these points which I have just made 
are the fundamental ones. The double steal, 
for instance, is a great play, but one to try 
(-illy when your club is far in the lead, or trail- 



BASE RUNNING 135 

ing by a good margin. It is rated as a long 
chance. If one run will benefit you and put 
you in the game, or put you ahead, and none 
is out, that is no time to essay the double steal. 
It is a good play when two are out, and a weak 
batter up. The smart base runners must 
catch their opponents off their guard in exe- 
cuting it. Try the double steal when it is not 
expected. To succeed with it the opposing 
team must be outguessed. 

Base runners should always make a fight 
of it when nipped between the bags, especially 
if there is a man running behind. By dying 
hard, you will give him a chance to move up 
a base while you are being put out, if you 
are caught between second and third, or third 
and home. Then there is always the chance 
for a slip and both being safe. Remember 
all these little things. Of course, if it is a 
warm day, the pitcher should not permit the 
other side to run him to death and tire him 
out, so that he will not be able to work the 
next inning. 

Always be wide-awake in running the bases. 
Bear in mind the count on the batter. If it is 
three balls and two strikes, start for the next 
base on the windup and run hard. The batter 
must either hit it, or walk, or strike out. You 



136 HOW TO PLAY BASEBALL 

have two chances that you will have to move 
anyway, and, if he does hit it, glance at the 
coacher, or the ball, if you can see it, to be 
sure it is not a fly. Practice makes a man's 
ears so keen he can tell by the sound of the 
ball on the bat whether it is a fly ball or not. 
If the batter does fan you still have a chance 
to steal. Don't try to steal home. It is a 
foolish play at any stage, and the chain 
are always against you. Do not joke with the 
basemen, because they will take your mind off 
the ball and catch you asleep. If a baseman 
says anything to you, let him talk along to 
himself. It is an old trick of the Big League 
to draw a man into conversation, and then 
have some other player sneak in and tag him. 
Big Leaguers call this "turning the runner," 
because his head is turned away from the ball 
when he looks around to answer. 

As a rule follow the ball closely when you 
can without reducing your speed, and obey 
your coachers. Be ready to jump into full 
speed at the slightest sign from a coacher after 
you have started to slow up coming into a base 
on a hit. Always have coachers on the lines. 
They are important. Make up a clear, concise 
set of signs for base running. When the sig- 
nal is given for the double steal, make sure 



BASE RUNNING 137 

that every one involved understands. This 
list includes the batter and the two base run- 
ners. The coacher usually gives the sign, 
which is some simple and natural movement. 
He should get an answer from the batter and 
both base runners. 

Stealing third, as a rule, is unprofitable, un- 
less there is some good reason for it. The suc- 
cessful steal of second pays better. You can 
score on a hit from second. The double steal, 
with men on first and second, is a bad play 
for a close game. It is used only now and 
then to "cross" the other team. On long hits, 
learn to touch all the bags without slowing up. 
Just step on the inside corner of each base. 
And you must have wind to sprint around the 
bags on a long hit. Therefore, cultivate en- 
durance. 



XII 

TEAM WORK 

VARIOUS estimates have been haz- 
arded by experts on the value of a 
manager to a ball club. Some critics 
do not figure him into the equation at all, 
while others overrate him. It is a co-opera- 
tive position. The team cannot get along 
without a directing force, and the manager 
cannot succeed without a team. In these re- 
marks on managing a team, in the case of most 
amateur clubs they will apply to the captain 
when I refer to the duties of the manager, be- 
cause, as a rule, such a club does not have any 
other leader. (111. No. 29.) 

Team play is very important to the success 
of a club, and it is increasing in its impor- 
tance every season. Within the last three 
years I have seen clubs in the Big Leagues 
composed of good players which have failed 
to succeed because they lacked an efficient 
style of team play. 

First, if you are the captain or manager of 

138 



TEAM WORK 139 

a ball club, select your general style of play. 
If you have a team of fast men, I would ad- 
vise the shifting, versatile attack, switching 
constantly on your opponents. This keeps 
them guessing, and the great thing to do is to 
worry your enemies on the diamond. 

If the club is slow and inclined to be slug- 
gish, but has many hard hitters, you will have 
to adopt a more conservative plan. It is fool- 
ish to send a slow man down to steal second. 
You will be forced to depend on the batting 
of the men who follow him to the plate. Play- 
ers of the sluggish cast are not so desirable as 
the other type. Speed is the great thing nowa- 
days. 

Keep after the players all the time. En- 
courage them and insist that they keep con- 
stantly on their toes. Make them show plenty 
of pepper and spirit and aggression. This 
carries a long way. Never let the other side 
see you are beaten or are losing courage. 

First of all, the young ball player must 
learn about the "stages" of a game. There 
are many things you would try at one "stage" 
which would be ridiculous under other condi- 
tions. There are times when it pays to be 
conservative and others when it is best to take 
the long chance. The latter represents the 



140 HOW TO PLAY BASEBALL 

desperate "stage." Every team should have a 
leader in charge, whether he is the captain or 
manager, and the players should obey his or- 
ders implicitly. If he is not competent, get 
another leader, but follow the man you have 
picked out. 

Players make a hit with me who work hard 
all the time, show an aggressive spirit, and 
keep chewing the rag. As long as an infield 
maintains a running fire of conversation, the 
other team is impressed with your confidence. 
It also keeps up the fighting spirit of your 
fellow-players. Now, do not misunderstand 
me by the use of the term "fighting spirit." 

There is such a thing in a ball game as a 
healthy, fighting spirit that does not neces- 
sitate a knowledge of the Marquis of Queens- 
berry rules and regulations. Keep after the 
other team all the time bv every fair means 
you have at your command. It's all right to 
try to discourage an opponent by clean con- 
versation. 

"We'll get you yet," you can shout at him 
if you are behind. "Watch us come at the 
finish." 

Or if your club is leading: 

"Well, we've got you on the run. You'll 
never catch us now," 



TEAM WORK 141 

The young player must remember that it is 
best to sacrifice individual records for the team 
success. Always play for the club first. And 
while we are still discussing the spirit of a 
club, which comes under the head of team 
work, I want to advise all infielders to throw 
the ball around as much as possible when no 
danger is attached to the process. If a run- 
ner is retired at first and there are no others 
on the bases, pass the ball around the infield 
with a display of pepper that would look like 
a show of confidence on a moving-picture film. 
It impresses the other team, and, besides, 
keeps the infielders, who may have been idle 
for some time, livened up and warmed to their 
work. But always be careful not to throw the 
ball around if there is a man on base, when a 
wild heave would be detrimental to your club. 
Bear in mind constantly the "stage" of the 
game, which means keeping track of the num- 
ber of outs in the inning, the score, and the 
count on the batter. 

Roughly speaking, we will consider two 
"stages/' although the game is subdivided into 
many more by the smart Big League manager. 
One "stage" is when the score is close, and the 
other when a large margin separates the two 
opposing clubs. If the score is close and your 



142 HOW TO PLAY BASEBALL 

club is leading by a single run, say, you must 
take every chance to add to this lead so you 
will be safer. One run is of immense value to 
vour team then. It will double your lead. 
Play what we Big Leaguers call a close game. 

Suppose the first batter in the inning gets on 
base. Order the next hitter to sacrifice so the 
first one can reach second, from where a hit 
will score him. You are figuring on the other 
side playing the game cleanly in laying your 
plans this way. Baseball is largely a matter 
of chance and probability, and it is the man 
who can figure the chances closest and get the 
right answer the greatest number of times who 
is the best leader. If you advance the runner 
to second, he has two chances of scoring on a 
clean hit because there is only one out when 
he reaches the middle station. 

Besides these chances on a clean hit, there 
is always the possibility of an error which may 
break up the game. Seasoned players will tell 
you that more errors are made on a bunt than 
on any other kind of a ball. The bunt must 
be handled hastily and accurately. Therefore, 
when the batter is instructed to sacrifice, which 
means bunting, there is the chance of the run- 
ner reaching third or scoring on a fumble or 
bad throw. He is sure of second. A lead of 



TEAM WORK 143 

two runs is fairly safe in the Big League, be- 
cause then you have time to see a storm com- 
ing and yank your pitcher before the score is 
tied. 

But if circumstances have convinced you 
that the bunt is not the play at this time be- 
cause the opposing club is looking for it, or 
for some other reason, you might try the hit 
and run. This is a more open game and has 
been worked successfully by my club for the 
past two seasons. It is a great play when it 
succeeds, but it makes a club look foolish when 
it fails. Each batter has some simple hit and 
run sign that all the other men on the club 
know. The hitter passes this to the base-run- 
ner, and the latter should signify by some re- 
turn signal that he has caught the sign and 
understands it. A great deal of jockeying 
helps this play. The batter must hit at the 
next ball, no matter where it comes, after he 
gives his sign, because the base-runner is 
going to start with the pitch, and he will be 
made to look foolish bv the ease with which 

ml 

he is tagged out at second if the batter fails 
to connect. It is for this reason that the sign 
for the play should be carefully concealed. If 
the opposing club is tipped off and expects it, 
there is no trouble about breaking up the hit 



U4 HOW TO PLAY BASEBALL 

and run with a pitch-out, thus catching the 
base-runner easily at second. 

If a man can get on first base and make be- 
lieve he is going to attempt to steal so the 
catcher will order a couple of pitch-outs and 
get the twirler in the hole, the hit and run play 
will work out more successfully, because then 
the pitcher has to put the ball over the plate 
and the batter will have his chance to hit at it. 
The hit and run play is more appropriate in 
an open game when a manager desires to take 
a longer chance. If the club is two or three 
runs behind, or leading by a safe margin, I 
would advise it rather than when the game is 
very close. There is less chance of its going 
through than the sacrifice, because the batter 
must first connect with the ball and, second, 
hit it on the ground, but the returns are bigger 
when it is successful. If he drives a flv to the 
infield, the runner has naturally taken such a 
long start off first base he will be doubled up 
unless it is a very high pop fly. The batter 
should try to hit behind the runner, too, the 
trick I mentioned in the article on batting. 
The whole purpose of the play is to catch the 
opposing team off its guard and pick up a 
flying start for the base-runner, who gets in 
motion when the pitcher begins his delivery. 



TEAM WORK 145 

It takes clever men to work this play and get 
away with it. The sacrifice is safer when the 
game is close. But if the batter can make a 
single on the hit and run, the runner on first 
will reach third and possibly score. The 
chances of getting a safe hit are increased be- 
cause the infield is pulled all out of shape by 
the premature start of the runner. (Ill No. 
30.) 

Now, if you are behind by a big margin, the 
club should take more chances. Suppose your 
opponents have a lead of five runs, one will 
do you no good. Never sacrifice under these 
circumstances, but take longer shots for big- 
ger stakes. This is a desperate "stage." Take 
every chance in the hope that you can rush 
your opponents off their feet. Once you get 
them going, often five or six runs may be piled 
up in an inning before they can stop you. 
That is the only way to overcome a big lead — 
by a sudden rally. Instruct your batters to 
hit it out. Send men home from third if there 
is the slightest chance of their scoring. Run 
wild on the bases in the hope that the other 
team will get throwing around and go up in 
the air. 

There are various "stages" of a game when 
it is foolish to try to steal a base. Again, the 



146 HOW TO PLAY BASEBALL 

attempt is imperative. Jf you have a lead of 
one run or need a run to tie, or if one run is 
going to make a whole lot of difference to your 
team and a man reaches first with none out, he 
should not try to steal. It is too big a risk 
at that "stage." But suppose, under the same 
pressing need of one run, a player arrives at 
first with two out. He cannot score from first 
base if the batter makes a single, but he prob- 
ably can from second. Therefore, his object 
is to reach second as soon as possible. Let him 
steal at the earliest opportunity when he has 
any chance at all of success. If he thinks the 
twirler is playing for him and is going to pitch 
out on the first ball, it would be ridiculous to 
try to steal. A man must use his individual 
judgment under those circumstances. But get 
down there on second, and you are then in a 
position to score on a hit. It takes speed and 
wits to do it. 

A great scheme in planning the attack of a 
iball club is to search for the opposing team's 
weakness. Most of them have one. If you 
find that their pitcher is wild, send every man 
to the bat with orders to take two called strikes 
before swinging at the ball. This is called 
"waiting a man out." If it fails to succeed 
because the pitcher does not lose control, shift 



TEAM WORK 147 

suddenly after the twirler has begun to believe 
he can slip the first two balls over the plate 
without any danger, he having discovered your 
waiting tactics, as he would. Tell your men 
to hit the first ball. Never stick to one system 
if it is not winning for you. 

The infield, with the catcher, plays the most 
important part in defensive team work. Sup- 
pose we consider some specific plays. The 
destroying of the double steal is a big prob- 
lem on the defense. It can be worked by 
outguessing the other side, and it can be 
broken up by outwitting your opponents. I 
would not advise selecting any one system for 
attacking the double steal and sticking to it 
unwaveringly. Of course, I expect that all 
my readers know I refer to that delicate sit- 
uation in a ball game when there is a man 
on first base and one on third. If the 
catcher throws the ball to second, there is grave 
danger of the runner on third coming home. 
Yet if no effort is made to get the man going 
to second, you will lose too many runs in a 
season to attain any success. You will find 
that in game after game runs have been scored 
because that extra man got to second when 
these tallies would never have been counted if 
he had been held on first base. 



148 HOW TO PLAY BASEBALL 

I would recommend to young teams that 
they try to break up the double steal by the 
short throw as a regular thing. This requires 

much accuracy to work it successfully. The 
shortstop or second baseman runs over behind 
the pitcher, standing about twenty feet di- 
rectly in front of second base when he sees 
the man on first start for second. The catcher 
drives the ball to him. If the man on third 
breaks for home, it is up to him to throw back 
to the catcher, but if he sticks to third, he can 
turn and toss to the player covering second in 
time to get the runner coming to second. If 
this player is smart, he will retrace his tracks 
toward first so that the ball gets in motion in 
the resultant effort to run him down, and then 
the runner on third will dig for home when he 
sees a good chance. 

Other methods of attacking the double steal, 
which should be employed frequently by way 
of variety to "cross" the opposing team, are 
for the catcher to throw directly either to the 
pitcher or third baseman. If a smart catcher 
will study closely the styles and weaknesses of 
base-runners, he can tell the men he will get 
away from third base on this trick. It is 
worked as follows: 

When the catcher gets the ball, he makes a 



TEAM WORK 149 

bluff motion toward second, as if to throw, but 
does not let go of the ball. The runner on 
third is on his toes, and seeing this, starts for 
home. Then the catcher shoots to the third 
baseman, who tags the runner. You would be 
surprised at the number of times the man will 
be caught away from the bag. If the double 
steal is worked straight, the man on third must 
start for home as soon as the catcher throws to 
second to have any chance of success. There 
are other ways of working the double steal, 
but this is the most common. 

When the ball is thrown to the pitcher, he 
can shoot it to either second or third. As he 
whirls, third base comes into his range of 
vision, and if he sees the runner has started 
from there, he can deliver the ball to the third 
baseman. Of course, it is best to get the man 
nearest home always. If the runner has 
hugged third base, he can still throw to sec- 
ond with a chance of getting the man going 
there. 

Some leaders recommend drawing their in- 
fields in to make the play at the plate when- 
ever a man is on third base and another on 
first, with less than two out. I prefer trying 
for the double play unless the game is very 
dose* Of course, if none are out* with men on 



150 HOW TO PLAY BASEBALL 

first and third, you've got to draw the infield 
in for the play at the plate or sacrifice a run. 
Or, if there is no one on first, and a man on 
third, and less than two out, it is again neces- 
sary to bring the infield in for the play at the 
plate. But with men on first and third, with 
one out, I prefer to try to retire the side on 
the double play unless the batter is very fast. 
There is not so much chance with the infield 
playing back of a ball going through for extra 
bases. Of course, there arise situations when 
it is best to make the play at the plate. There 
are none of these finer situations about which 
a hard and fast rule can be laid down. The 
best I can do is suggest the most likely way. 

With men on first and second bases and less 
than two out, I would advise that the first 
baseman move out of his position about twenty 
feet down the line, toward the home plate, pre- 
pared for a bunt. He should play this bunt 
to third if he fields it, where the runner is 
forced. If he sees it is too late to make the 
play there, he can still toss the ball to first to 
the second baseman who is covering. The 
pitcher should make this play in the same way. 
There is one infallible rule to follow on the 
defense. Get the man nearest the plate if 
possible. In this way you save runs. With 



TEAM WORK 151 

two out, always make the easiest and surest 
play. 

Infielders must remember to help other in- 
fielders. For instance, the third baseman 
shifts over slightly to cover up the hole left 
by the shortstop when the latter moves in pre- 
paring to cover second base to get a man steal- 
ing. Bear in mind you are not nailed fast to 
one place when playing ball and are expected 
to move around to meet emergencies. 

A complete system of signals should be ar- 
ranged by the boss of the team, and every man 
should have these by heart. Do not make the 
code too complicated. There are the defensive 
and offensive signs. These include the bat- 
tery, base running and fielding signs. The 
leader should be able to signal a base-runner 
when to steal, and you must have the signal 
for the hit and run. Every ball club should 
have a fixed rule about the attitude of the 
players toward the umpires. They should be 
treated courteously, protests being made only 
on a point of the rules. 



